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Harry James Inter­ view- Unusually detailed and revealing

Deane Kincaide Profile - A forgotten arranger

Upcoming BBJs feature Jerry Gray

A story about song­ writer Jack Lawrence. BIG BAND N EWSLETTER n i m i a

VOLUME 122 BIG BAND JUMP NEWSLETTER MAY-JUNE, 2009

INTERVIEW - HARRY JAMES - (P a rt One)

The previous Harry James interview was published in the summer of 1991 during the second year ofBDJ NEWSLETTER publication. It was a bare-bones interview reflecting Harry James’ highly private persona, but this interview goes into more detail. It was conducted by radio personality Fred Hall, re­ nownedfor his first-hand knowledge o f the Big Band Era and his association with many o f the talents involved. James plays

From the time Harry James left Benny Goodman to James being difficult to know. Despite that, Fred’s form his own orchestra he was excoriated by swing interview with Harry James is revealing and we ’re fans for going over to the “other side ” with syrupy fortunate to have James ’ views, liberally expressed romantic recordings. Swing fans didn’t want to in this unique interview. The depth o f the interview share him with fans they considered less “hip ” but will require two sections, the first o f which is below. the fact is Harry James was able to play everything Parenthetically, BBJ host Don Kennedy interviewed equally well: lilting melodies, treakley songs and Harry James in the late ‘40s, the interview long hot swing. His records and his appearances at since lost, and announced a dance band remote with theaters, ballrooms and clubs continued to attract the band in the early ‘70s. Kennedy affirms Fred large crowds, his last appearance being just a week Hall’s impression; Harry James was a difficult man before he died in 1983. Apparently in music you to get to know. His personality, we suspect, was can't be simultaneously popular to fans with widely demonstrated through his trumpet. His selection o f varied tastes, but Harry James could do it all, anddo material to record reflects a level of sensitivity that it well. was not apparent in his personal manner.

The following interview took place in the chapel of James was highly criticized by other musicians for the Hollywood First Presbyterian Church where the playing “commercial ” material. His first response James band was recording direct-to-disc in 1976. is about that. The location was selected because o f its fine acous­ tics; James ’ band was selected because they’d been HJ: To me, there’s only two kinds of music, good together on the road for years and thus were per­ and bad. If I like it, 1 play it and if I don’t like fectly able to record without post-editing, re-takes it, 1 don’t. And I think that’s an opinion shared by most or pauses between numbers, having to do the full people. You know, you’ll have someone say, “Oh, this side o f an LP in one take, pausing only long enough rock is terrible.” Well, that’s not a statement to make for the engineers to create a space and go into the because there are a lot of good things, a lot of great tunes next track. and a lot of good tunes in country western. There are a lot of good tunes all over. Back when I first started the Fred Hall had done dance band remotes with Harry band they talked about all the good songs but 1 never did James as early as 1941 and then again in the ‘50s, play THREE LITTLE BITTY FITTY IN A ITTY but repeated what so many had said about Harry BITTY POOL, or any of that stuff, because there was VOLUME 122 BIG BAND JUMP NEWSLETTER MAY-JUNE, 2009 bad music then just as there is today. It was always real Kitty Kallen and Marion Morgan. We were very lucky commercial things I didn’t like playing. in having great singers with us all of the time.

BBJ: How do you compare your band today with BBJ: You had bad luck with record producers. Y ou your band ten or twenty years ago? were a little sore at Columbia Record’s Mitch Miller. H J: Well, I never compare bands; I always compare nights and if the band is playing good tonight HJ: Not just a little - a whole damn bunch. He then I’m very happy. If it isn’t playing good then I’m wanted me to do some real corny things and I very unhappy, but certainly right now the band’s been refused to do it so I left the company. It was that playing real well. simple.

BBJ: Your opener after the theme is DON’T BE BBJ: You did CASTLE ROCK there, though. THAT WAY. HJ: No, that was Sinatra who did that. I just H J: Yeah, I do it everyplace I go because I was with accompanied him. I think it was the worst the great Benny Goodman Band and we did the thing either of us ever did. You ask Sinatra and he’ll first Carnegie Hall Concert, the first jazz concert ever tell you the same thing. held in Carnegie Hall and the first tune we ever played there was DON’T BE THAT WAY. I’ve sort of had a BBJ: Are there still masters in the Columbia ar­ feeling of good luck about it and we play it for the first chives not yet released? tune everywhere we go. HJ: We don’t have any idea because most of the BBJ: Did you start on drums when you played in the records that we did for Columbia were re­ circus band? leased immediately when we did them. But that’ sback in the days when they were recording good music and HJ: I played drums in my father’s band before I when Mitch Miller came in with the gimmicks and all started playing the trumpet. ofthis stuff... .we did only one thing, BRAVE BULLS, that Mitch wanted me to do. I didn’t really do a good BBJ: The drums have always been important in your job of it. It could have been a lot better, but other band. than that everything else became what he was trying to do-GHOST RIDERS IN THE SKY, you know. Ijust HJ: If s just like a good quarterback. didn’t feel like playing that way.

BBJ: Some great singers have worked with you over BBJ: You replaced Glenn Miller on the “Chester­ the years. field Show” when Glenn went into service.

HJ: We were very fortunate in that, when I first HJ: Well, the way that happened - we were work­ heard Sinatra, he was singing out at the Rustic ing out at the Meadowbrook and Miller was Cabin in Jersey and he joined the band. That was right doing his last broadcast. He called me about three or after I organized it and he stayed with us for about seven four days before and said, “I’ve recommended you to months, I guess. Nancy was pregnant and we weren’t take over the show.” He did such a fantastic job with making enough money to even pay him the $75.00 he Chesterfield and naturally they would take on the first was supposed to get, so he went with Tommy Dorsey person that he would recommend. So I went on the and I said, “Well, if we don’t do any better in the next show with him as their, sort of, a guest just to say six months or so, try to get me on, too.” We were really “Hello, Glenn,” and “We are going to take your show having a time. But Sinatra, then Dick Haymes took his over next week.” He said, “Why don’t you do JUKE­ place. Helen Forrest was there and Connie Haines, BOX SATURDAY NIGHT?” I said, “That’s a good

2 VOLUME 122 BIG BAND JUMP NEWSLETTER MAY-JUNE, 2009

subject. 1 was listening to XM channel four and a piece by Jimmie Lunceford came on, 1 don’t even know the title. The sax solo came on and it was Bird - 1 nearly drove off the road - too early for Bird but very distinc­ tive. I looked into it and it was a guy named Willie Smith. From what 1 have read on the web he is mentioned in passing as one of the many influences of Parker but from what I heard on that one solo, he is more than an influence, he is a source. What say you? As radio folk, we have little or no knowledge o f such things, but our musician consultant says it’s un­ likely Charlie Parker was influenced by Willie Smith to any degree, other than everyone was listening to everyone else in those days. Willie Smith worked with Harry James James on the bandstand for twenty years and is even fea­ idea.” So I played in that thing where they do the tured on Colum­ “Listen to the music of Harry James” and so forth. So bia album 45447 I played with them and it was the following week that in the “Jazz Mas­ we took over the show and we had the show for, I think, terpieces” series around three years or something like that. if it’s still avail­ able. The second part o f the Harry James interview will be in the next issue, July-August, 2009-number 123. Willie Smith was We ’ll get the James ideas about today’s musicians in the Jimmie and the background stories o f some o f his classic Lunceford Band recordings. from 1929 until '42, then joined LETTERS TO THE EDITOR Harry James where he was a Letters to BIG BAND JUMP or the BBJNEWSLET­ featured player Willie plays TER may be sent to ¡the address below or e-mailed to from 1944 until [email protected]. When you e-mail, please 1964, and was briefly with Duke Ellington for two give your name and address. All letters are an­ years in the early fifties. Willie Smith, the alto sax swered, but the volume o f mail sometimes delays a player, is not to be confused with Willie “The Lion ” timely response Smith, the piano legend. Most critics place Willie Smith among the top three alto sax players o f the era, BBJ NEWSLETTER along with Johnny Hodges and Benny Carter. Willie Box 52252 left the bandstand permanently in 1987. Atlanta, GA 30355 A wonderful story about the Harry James band The published letters have been edited for space touring in the south with Willie Smith involved the considerations, but the meaning has been preserved. band's appearance in a small town where the sheriff arrived to protest a “mixed race band. ” Willie Greg Auchenbach I enjoy your show Smith had a very light complexion and Harry James Steamboat Springs, CO immensely and I simply said to the sheriff: “If you can tell me which wanted to run some­ one mixes the band, we ’ll pack up and leave. ” The thing past you because of your knowledge on the sheriff couldn 7 and James played the job. 3 VOLUME 122 BIG BAND JUMP NEWSLETTER MAY-JUNE, 2009

George Hain For many years I have collected big Here is a photo o f the Mellowaires. The trick is to Sun Lakes, AZ band music after admiring the or­ identify the people in the photo, for we have no idea. chestras. Then came an XM Radio I f you can help Mr. Heimback-Nielsen, please let us gift with Big Band Jump, then a subscription gift from know at: [email protected] or Box a son to your newsletter. 1 took the plunge and bought 52252, Atlanta, GA 30355. your “Songs of Romance.” Superb!! (His exclamation points.) Another suggestion, please. We suggested that if Mr. Hain has a computer he could hear a two hour BBJ on demand. (See Hagen 's article last issue.) The BBJ on the com­ puter is the same as the program heard on over 100 terrestrial radio stations and is available on the computer the week after it’s broadcast on those stations. The subject of that program is different from the one hour XM program or the one hour BBJs heard on various public broadcast stations throughout the nation.

John Prokopec, Jr. Did Benny Goodman ever play Avon, CT the saxophone? I never saw any pictures, recordings or gigs Mellowaires and friends that revealed he was playing the saxophone. Bob Sulaski I enjoy your programs on satellite ra- According to some bios, Benny Goodman ’s first Peoria, IL dio. I look forward to your program rudimentary musical instruction in 1919 at Chicago’s every Wednesday and Sunday eve­ Kehelah Jacob Synagogue was on tenor sax. He is nings. I especially liked the show a few weeks ago that noted as playing alto saxophone on two Ben Pollack featured a lot of Billy May music. recordings in the ‘20s, DEED I DO and WAITIN’ FOR KATIE. In 1928 under the group title “Benny Billy May was my favorite bandleader and arranger. Goodman’s Boys ” he variously played both baritone The first album I ever bought was Billy May’s “A Band and alto saxophones as well as clarinet. Is Bom” in 1986. I sent the cover of that album to Billy May for him to sign and not only did he sign it but sent Mark Heimback-Nielsen M r. Heimback- me a handwritten letter. My letter questioned him Glendale, CA Nielsen wrote to ask regarding why he traveled with the band for such a short if we knew anything time in the ‘50s. I told him my wife and I had driven 50 about the singing group called “The Mellowaires. ” miles to the Les Buzz Ballroom in Spring Valley, We didn t and he followed up with this report: Illinoistoseehimin 1955, but he was not traveling with From the session information 1 have, Capitol only used the band at that time. He wrote: the group in 1942 before the recording ban on August “About 19541 could see the handwriting on the wal 1 and first. After the ban the Pied Pipers were available and got out of the band business and went back to arranging took over backing vocals for other artists as well as their - my first love! I have been arranging and composing own recordings. ever since up until last March, when I finished a project I found out the Mellowaires did two three minute for Stan Freberg (Rhino Records,-1996). Since then soundies in 1942: COCKTAILS FOR TWO with Bob I’ve been retired and enjoying it a great deal. Thanks for Hughes and LULLABY IN SWING on their own. your letter and your interest in my efforts.” Would you know of anyone who might have these in There will likely never be anyone like the great Billy their collection? May. VOLUME 122 BIG BAND JUMP NEWSLETTER MAY-JUNE, 2009

Wayne Hubbard The subject song was written Allan Duvall I’ve enjoyed your program for Augusta, GA in 1934 by Felix Bernard and Tooele, Utah many years. I’m an old rock Richard B. Smith. The song and roller who now listens to contains the lyrics: your kind of music nearly all the time. Gone away is the bluebird, John Mullaney I listen to Big Band Jump on Sun- Here to stay is a new bird. Greensboro, NC day evening on the cable hookup He sings a love song and want to tell you I thoroughly As we go along enjoy your selections and your commentary. In this era Walking in a winter won­ where so much entertainment seems fragmented and derland. overdrawn your choices and presentation provide an opportunity to simply be pleased and comforted by the My question is, what was artists you feature. the new bird? I think it has somethingtodowithoneof DO OUR PARf Letters such as the above make it all worthwhile. the new deal programs. If The NRA poster, you could answer my ques­ ARRANGER PROFILE - tion, I would greatly appreciate it. The song is one of my favorites and I can’t find an answer to the question. DEANE KINCAIDE

We think it means the singer is no longer blue Some arrangers are well-known to the public, while because he or she is in love, “As we go others who contributed just along, walking in a winter wonder­ as much to the total Big Band land. ” The new bird is, we suspect, sound are virtually unknown simply a convenient rhyming device except among musicians. and the ‘new ’ refers to a new mood Deane Kincaide’s is not a rather than a ‘blue ’ mood. However, well-known name, and yet if you want to put some political mean­ he’s the source__no, the ing to it, there WAS a blue bird at the inspiration....for recordings time in the form of the National Re­ you know so well. The clas­ covery Administration eagle, pictured sic example of Kincaide’s here as seen in posters at the time. work is Tommy Dorsey’s Nice song, whatever it means. BOOGIE WOOGIE, ar­ ranged by Kincaide on the Larry Bowden I was listening to band bus in the wee hours Lynchburg, VA your “Audition” between one-nighters. show this morn­ Tommy Dorsey paid him a ing and loved what you do as always. one-time fifty dollars for that Thank you for this splendid, premier, big arrangement, recorded by the band show. No one does it better. My wife band in 1938, and re-issued and I both love the context you create for two other times, each time the music. We never miss it without feel­ be- coming a best-seller. ing something is missing from our week. Robert Deane Kincaide’s Daye Wilkins Big Band Jump! early name-band association Swansboro, NC Wow! Two was as a sax and clarinet shows in a player with Wingy Manone row....Big Time! What else do you have in your in 1932 and then with Ben Pollack’s Band from 1933 vault? Keep it up! to 1935. His arranging skill was evident early. He

5 VOLUME 122 BIG BAND JUMP NEWSLETTER MAY-JUNE, 2009 arranged for Benny Goodman, then when the Pollack The listing of all the original recordings included in this band broke up, Kincaide became one of the founding unique album are on the yellow center page of this issue. members of the Bob Crosby band. He, along with 56 tracks - Available from BBJ Sales. bassist Bob Haggart and Matty Matlock, fashioned the sound of the Crosby group, creating a band revered by DIANA KRALL - QUIET NIGHTS musicians and the public alike. THE DIXIELAND Verve BOO 12433-02 - Single CD BAND, issued on Decca in 1935 is an example of Deane Kincaide’s arranging talent. We like Diana Krall. We like her piano talent, her ambition, her devotion to meaningful music in the mode When Tommy Dorsey raided the Bob Crosby band in of the Great Ameri­ 1938, Deane Kincaide was part of the group which can Songbook what­ included trumpeters Yank Lawson and Charlie Spivak. ever date the songs He was with Dorsey for two years, then played with are written. We ad­ various leaders, most notably Muggsy Spanier, arrang­ mire her devotion to ing for his fifteen piece Dixieland band, exemplified by those who came be­ COLUMBIA,THEGEMOFTHEOCEAN. Although fore, including Nat Eddie Sauter is most often noted as the architect for the Cole, whose trio her post-war Ray McKinley band, Kincade contributed small group most some of McKinley’s best-selling arrangements as well resembles every so as playingsax forthe band. BLUE MOON, STOMPIN’ often. Having said AT THE SAVOY and HARLEM NOCTURNE were all that, we wish she all arrangements by Deane Kincaide would do more up-beat material and play more piano.

The arrangements of Deane Kincaide stretched from This album is absolutely not up-beat. It’s meant to be Lenny Hayton’s dance band in the ‘30s, through the romantic whisperings from a mature woman in an early Woody Herman “Band That Plays The Blues” to intimate setting. Krall is quoted as saying, “It’s a the Glenn Miller band of the forties and the Miller sensual, downright erotic record and it’s intended to be Estate Orchestra led by Ray McKinley. In later years that way. It’s not ‘little girl’ stuff.” She accomplishes reports came from central Florida that Deane Kincaide her purpose, but we’re not sure the resulting delivery is was still working as part of the Disney World Band, ideal for her. Our group of listeners selected GUESS even marching down Main Street as part of his enter­ I’LL HANG MY TEARS OUT TO DRY as the most tainment duties. Freelancing and writing arrangements appealing track. There are a total of ten songs, most for television continued until his retirement in 1981. lasting four or five minutes, including WHERE OR Not a name on the marquee in bright, flashing lights, WHEN, TOO MARVELOUS FOR WORDS, THE but a solid contributor to the sound of so many top BOY FROM IPANEMA, YOU’RE MY THRILL and musical organizationsduringthe Era, Deane Kincaide’s QUIET NIGHTS among others. work will be heard for decades to come whenever Big Bands perform. Seven of the ten songs on the album have a bossa nova beat reflecting Krall’s devotion to Latin music. On the (BOOKS & RECORDS TO CONSIDER) bandstand and in the movies during the Big Band Era musicians had the same fascination with rhythms from CUTE & COMIC SONGS south of the border; witness Artie Shaw’s FRENESI, SC 4626 - Two CDs the popularity of Carmen Miranda and later Stan Kenton’s liberal use of such rhythms in PEANUT A newly minted two CD collection of funny, novel or VENDOR and his frequent use of bongos.. just silly songs from the Big Band Era. Current generations might get a kick out of some of the less It is, in the final analysis, purely a matter of taste. Diana serious song subjects of the time; those who were there Krall is a fine, dedicated performer who needs to be will re-discover nearly forgotten flights of lyric fancy. supported by everyone devoted to ‘real’ music pre- 6 (Please fold on dotted line)

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BBJ NEWSLETTER Box 52252 Atlanta, GA 30355

BBJ NEWSLETTER Box 52252 Atlanta, GA 30355

(Tape or Staple Here) BIG BAND ERA CUTE & COMIC SONGS

Big Band Era This brand new album reflects the humorous side of the Big Band Era, from the Cute & Comic Conge extreme of Spike Jones with WILLIAM TELL OVERTURE to the gentle chiding of Clastic Originals from the Big Band Era Hoagy Carmichael’s HUGGIN’AND CHALKIN’ From the abundantly silly THREE LITTLE FISHIES to the nonsense MAIRZY DOATS. Noted below are the fifty-six (56) CUTE & COMIC songs from 42 artists carefully assembled and digitized for best quality possible. Some songs in the collection refer to WWII, such as G.l. JIVE and CORNS FOR MY COUNTRY Others offer a comic approach to subjects from eating to strip-tease. It is a remarkable collection! This two CD set with the 56 songs noted below is offered to BBJ NEWSLETTER

56 o rig in a l d e v er songs by readers at a special price of $28.00, good until June 30th, 2009. Order with the over 42 chnvic perform ers form below using Visa or MasterCard, or your check, or phone 1-800-377-0022. Never have so many top novelty songs been gathered in one album!

CD One CD Two 1. Pistol Packin' Mama - Bing Crosby 1. Straighten Up and Fly Right - Nat Cole 2. G. I. Jive - Johnny Mercer 2, Woody Woodpecker - Mel Blanc 3. Aba Daba Honeymoon - Debbie Reynolds 3. Four Leaf Clover - Art Mooney 4. Frim Fram Sauce - Butch Stone/Les Brown 4. Ragtime Cowboy Joe - Jo Stafford 5. Papa Loves Mambo - Perry Como 5. Horses Don't Bet On People - Kay Kyser 6. Java Jive - Ink Spots 6. Hot Time In The Town Of Berlin - Bing Crosby 7. Mairzy Doats - Merry Macs 7. Cecilia - Ronnie Kemper/Dick Jurgens 8. Sam, You Made The Pants Too Long - Ziggy Talent 8. Too Fat Polka - Arthur Godfrey 9. Open The Door, Richard - Count Basie 9. William Tell Overture - Spike Jones 10. Cocktails For Two - Spike Jones 10. A Good Man Is Hard To Find - Butch Stone/Les Brown 11. Smoke, Smoke, Smoke That Cigarette - Tex Williams 11. Tiger Rag - Mills Brothers 12. Your Feet's Too Big - Fats Waller 12. Jukebox Saturday Night - Glenn Miller 13. Lovely Bunch Of Coconuts - Merv Griffin/Freddy Martin 13. The Joint Is Jumpin' - Fats Waller 14. Civilization - Danny Kaye 14. The Hucklebuck - Charlie Shavers/Tommy Dorsey 15. Three Little Fishes - Kay Kyser 15. Mule Train - Frankie Laine 16. Milkman, Keep Those Bottles Quiet - Woody Herman 16. Manana - Peggy Lee 17. Cement Mixer - Alvino Rey 17. Shanty In Old Shanty Town - Johnny Long 18. Huggin' & Chalkin' - Hoagy Carmichael 18. Deep In The Heart Of Texas - Alvino Rey ' 19. Rag Mop - Ames Brothers 19. Sugar Blues - Johnny Mercer 20. Crazy Rhythm - Doris Day 20. Managua Nicaragua - Kay Kyser 21. Daddy - Sammy Kaye 21. Chattanooga Shoe Shine Boy - Red Foley 22. Elmer's Tune - Glenn Miller 22. Chickery Chick - Sammy Kaye 23. Strip Polka - Johnny Mercer 23. A Hubba, Hubba, Hubba - Perry Como 24. Tim Tay Shun - Cinderella G. Stump (Jo Stafford) 24. Maharajah Of Magador - Ziggy Talent/Vaughn Monroe 25. This Ole House - Rosemary Clooney 25. Ballin' The Jack - Eddy Howard 26. Corns For My Country - Andrews Sisters 26. Hold Tight - Marion Hutton/Glenn Miller 27. Dipsy Doodle - Edythe Wright/Tommy Dorsey 27. Personality - Johnny Mercer 28. Doggie In The Window - Patti Page 29. Shoo Fly Pie - June Christy/Stan Kenton Account Number Expiration Date

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(Tape or Staple Here) VOLUME 122 BIG BAND JUMP NEWSLETTER MAY-JUNE, 2009 sented in a sensitive, knowing way. This album’s style, exceptions, five to seven minutes in length, giving however, is a matter of highly personal taste. Audition soloists additional time to display their talents. Avail­ before you buy. 12 tracks - Available at any record able at any good record store or on line. store or on-line. Hagen Williams Hagen Williams GERSHWIN SINGS GERSHWIN - Alexis Gershwin MIKE VAX BIG BAND - SONGS FROM THE Rhapsody RR20703-1 - Single CD ROAD Summit DCD 518 - Single CD Here’s a curiosity: George and Ira Gershwin’s younger sister Frances had a daughter she named Alexis, who Since 2003 bandleader and Kenton alumnus Mike Vax has recorded a CD has toured with a band made up of, among others, of (what else!) musicians who had played with Stan Kenton. In the Gershwin songs. style of the Big The connection is Band Era, the Mike mostly genetic, for Vax Kenton alumni Alexis never knew orchestra, bus and George who died in all, has gone on the 1937 at age 38, but road each year per- she knew lyricist forming for jazz Ira well. She re­ study programs and counts having din­ general audiences. ner each week at The Vax aggrega­ Ira’s Beverly Hills home with such guests as Karl tion is not a Kenton Malden, Groucho Marx and Oscar Levant. “ghost” band but was organized to carry on the Kenton tradition of Highly stylized, Alexis Gershwin is backed by a vocal keeping big band jazz alive and to bring young people group in varied interpretations of the songs you’d into the fold. This album, with the exception of two expect to hear in a Gershwin collection: selections, was recorded at half a dozen stops on the S’WONDERFUL, HOW LONG HAS THIS BEEN 2008 seven state mid-west tour. GOING ON, EMBRACEABLE YOU, I’VE GOT A CRUSH ON YOU, OUR LOVE IS HERE TO STAY, The material is innovative and in some instances more THE MAN I LOVE and six others for a total of twelve for musicians ears than for our public listening limits, songs. Available at record stores or on-line at but it’s all fascinating for these guys love the music, www.AlexisGershwin.com love playing and sacrifice a great deal of time and Hagen Williams money to make the tours and the resulting CD happen. Bob Florence, the esteemed arranger who recently died, BENNY GOODMAN '49-'58 is paid tribute with his piano work on ALL THE Mosaic Records - 7 CDs THINGS Y OU ARE. The ghost of Stan Kenton appears Benny Goodman died in 1986, but fans of the Goodman when the band plays his arrangement of I’M GLAD Band, a group so vital to the establishment of the Big THERE IS YOU and trombonist/singer Scott Whitfield Band Era and its continuation, has been reconstituted put together SLOW BOAT TO CHINA to include the by Mosaic Records, (www.mosaicrecords.com.) Old- lyrics sung by Whitfield and Ginger Berglund. time Goodman fans recall the Victor sides including the original Fletcher Henderson and Jimmy Mundy The more you listen, the more you ’ll come to appreciate arrangements, and they were sensational, but this collec­ the devotion, musicianship and fresh sound coming tion begins shortly after the 1938 Carnegie Hall Con­ from this labor of love. Fourteen tracks, with a few cert, concentrating on Columbia and Okeh releases 7 VOLUME 122 BIG BAND JUMP NEWSLETTER MAY-JUNE, 2009 from 1939 to 1958. nies. The last two CDs cover the period 1945 to 1958. Nothing wrong with the earlier Goodman Orches­ The beauty of Mosaic sets is their tra, but the immediate pre­ devotion to detail. Their album notes war band was Goodman ’ s put forth information that you may not modernization project. have known before, and a slick paper Krupa and James had left full size booklet that comes with the to form their own bands, set is loaded with crisp pictures, some but drummers Dave of which will probably be new to you. Tough and Sid Catlett kept For Goodman fans the booklet is nearly the beat and trumpeter as valuable as the carefully selected Cootie Williams was fea­ list of classic recordings. tured. Two arrangers had most to do with that This album release is timed to the period’sGoodman sound: Goodman Centennial. Eddie Sauter and pianist Mel Powell, and what a sound it was! Eddie SIDELIGHTS Sauter gave the band a completely new direction JACK LAWRENCE with BENNY RIDES The recent death of songwriter Jack AGAIN; Mel Powell con­ Lawrence again brought to mind the tributed THE EARL and Goodman returns oft-told story of his paying a debt MISSION TO MOS­ when he was young COW, for example. and struggling. In the forties Jack There’s another factor to this period in the Goodman Lawrence owed h i s career; his move to Columbia improved the acoustical attorney a great deal sound. The earlier Victor recordings of the Goodman of money, but ar­ Orchestra were excellent for the time, but recording ranged to partially techniques were rapidly changing and Columbia took pay his bill by writ­ advantage of the new idea that a bit of reverberation was ing a song for the not only OK, it added a “live” sound to the recordings. attorney’s daugh­ While later innovations used electronically manufac­ ter. For her sixth tured reverb, some of those Columbia Goodman gems birthday, Jack were recorded in a studio lending a fresh, open sound. Lawrence wrote a song using her This Mosaic seven CD set is important for the name as a title and serious collector who revels in the solid sound of it became a hit in Goodman’s clarinet playing against a swingin’ en­ 1947. The song was semble. Benny Goodman ’ s solos are perfection, but the LINDA. Little Linda Eastman perfection doesn ’t get in the way of the jazz component. grew up to marry The first five CDs contain the Goodman output from Jack Lawrence in his prime Paul McCartney. 1939 to 1942 when the American Federation of Musi­ cians helped defeat the very cause they were trying to Other songs written by Jack Lawrence were key to the advance with their silly strike against the record compa- success of specific artists, and in turn, made the song

8 VOLUME 122 BIG BAND JUMP NEWSLETTER MAY-JUNE, 2009 itself a success. It was Lawrence who wrote the song that became the Ink Spots hit, IF I DIDN’T CARE, forever identified with that group. ALL OR NOTHING AT ALL came from the Lawrence pen and while it was not a hit when originally released by a young Harry James Orchestra, it later became inexorably tied-in with the early Frank Sinatra. In the same way, Lawrence’s TENDERLY came to be one of Rosemary Clooney’s key recordings.

HIP REPLACEMENT

A comic strip definition of “hip replacement” brought laughs from musicians all over the country. It was: “Firing the accordion player in favor of a jazz pianist.” Jack Leonard over at the right while band sings with him. THE BOOKWORM SHAW

Back in the earlier thirties when both Benny Goodman MER. MARIE, on the other side of SONG OF INDIA, and Artie Shaw worked together in the radio studios, became the first million-seller for the two year old Shaw often was seen reading books. Goodman made Tommy Dorsey band. fun of Shaw’s erudition and every time he saw him he’d say, “How you doin’ J.B?” Shaw didn’t want to give The reason for Jack Leonard’s 1939 departure from the Goodman the satisfaction of his not knowing what J.B. Tommy Dorsey band is unclear. It was certainly a stood for, but after months of the same greeting from surprise to everyone who worked with Leonard, for he Benny he finally had to ask. Benny’s answer: “George was a shy but personable good-looking guy, the kind of Bernard.” personal ity appeal i ng to not on ly h i s band mates but the public. The gossip at the time was that Dorsey forced JACK LEONARD PROFILE him out thinking he was going to leave for a solo career. Leonard himself said that wasn’t true, he just needed These years later, the name Jack Leonard is nearly some time off and would soon return. He was replaced unknown, even among aging Big Band fans, for he by singer Alan DeWitt and a month after that Frank achieved stardom early and then faded from public Sinatrajoined the band. Jack Leonard never returned to attention. He was, however, one of the top male singers the Tommy Dorsey fold. of the ‘30s, starring with Tommy Dorsey’s then new band not only as a soloist but as part of a vocal group After military service leadinga military band at Ft. Dix, called “The Three Esquires.” New Jersey, Jack Leonard continued his singing career as a soloist during the second half of the forties and into J ack Leonard was part of the T ommy Dorsey crew from the fifties. Public memories of the Jack Leonard name the beginning when Dorsey hired him away from Bert were still fresh then, but led only to minor movie roles Block’s band in 193 5 along with arranger Odd Stordahl and some appearances in early television including (later to become Axel Stordahl) and trumpeter Joe “Broadway Open House” in 1951 and a TV memorial Bauer. While the Esquires contributed to overall sound to Tommy Dorsey in 1956. He never regained the of the early Dorsey orchestra, it was as a soloist that public acclaim that came with his Tommy Dorsey Jack Leonard made his mark, featured on such record­ association. Jack Leonard’s life was cut short by cancer ing hits as MARIE, OUR LOVE and INDIAN SUM- in 1988. He was 73.

9 VOLUME 122 BIG BAND JUMP NEWSLETTER MAY-JUNE, 2009

“TRIVIA QUIZ. 4 0NEFORMY BABYwaswritten by: A - Frank Loesser B - Johnny Mercer Back in the middle C - Harry Warren D - Billy May of March BBJ pro­ gram subjects in­ cluded the “L” and 5 Right before joining Tommy Dorsey, singer “M” files plus Connie Haines worked for: Tommy Dorsey programs ‘live’ A - Harry James B - Jimmy Dorsey from various loca­ tions across the na­ C - Glenn Miller D - Billy May tion, along with the background infor­ 6 Right before joining Tommy Dorsey, singer mation connected Peggy Lee at work, part of first with each m Frank Sinatra worked for: question on Trivia Quiz. ° ^______We ve based the following multiple choice Big Band quiz on informa­ A - Harry James B - Jimmy Dorsey tion from those programs. C - Glenn Miller D - Billy May

Answers as always are not so hidden on page twelve 7 A trumpet player and arranger for both Charlie following the subject listing of upcoming BBJ pro­ Barnet and Glenn Miller was: grams. If you dare to look at the answers before completing the quiz, you will be struck with a piece of sheet music or perhaps be thrown off the A - Harry James B - Ziggy Elman bandstand... .providing the bandstand is only a foot off C - Ray Anthony D - Billy May the ground. Do not risk physical injury or mental humiliation; please finish the quiz before looking at the answers. Ready? Go: 8 The best-selling recording of DO I WORRY? was by: 1 The driving, captivating arrangement of Peggy Lee’s recording of LOVER was written and con­ A - Ink Spots B - Tommy Dorsey ducted by: C - Mills Brothers D - Pied Pipers A - Gordon Jenkins B - Dave Barbour C - Victor Young D - Billy May 9 The real name of the vocal group “The Senti­ mentalists” was: 2 Elliot Lawrence’s orchestra, popular in the second half of the forties, was often compared to the orchestra led by: A - Pied Pipers B - Modemaires C - Clark Sisters D - Boswell Sisters A - Lawrence Welk B - Randy Brooks C - Claude Thornhill D - Billy May 10 The other side of Tommy Dorsey’s original 78 3 The TV theme for the program “Peter Gunn” recording of MARIE was: was written by:

A - Frankie Laine B - Vaughn Monroe A - Opus One B - Dream C - Henry Mancini D - Billy May C - Boogie Woogie D - Song Of India 10 VOLUME 122 BIG BAND JUMP NEWSLETTER MAY-JUNE, 2009

sometimes silly, always vi­ UPCOMING PROGRAM TITLES tal and interesting. That’s what’s planned....or not (The first two program descriptions are repeats for new subscribers.) planned....for this BBJ.

2-3 May,2009 The alphabetical programming 23-24 May, 2009 THE ‘G’ FILE idea is a process of discovery, for CUTE & COMIC (ONE) some otherwise neglected artists or melodies emerge in the T he search. Y ou’ll hear defi- Benny Goodman, Judy 11 1 ‘ BBJ host Don Kennedy t i o n Garland and Erroll Gar­ of a “novelty song” is one out ner of course, but also of the ordinary, a tune not in the Stephane Grappelli, mode of a typical love song or Georgia Gibbs and Jan addressing a specific emotional Garber. Jerry Gray is in­ subject in a serious way. It cluded as is Glen Gray would, then, be a song tending and even a sampling of to be humorous or in a word, British film composer “novel.” This program is made Phillip Green. Jackie up of two dozen such songs, Gleason’s easy listening exemplified by, for example, music will be heard as FRIM FRAM SAUCE or will the Terry Gibb’s MAIRZY DOATS, PAPA “Dream Band" consist­ LOVES MAMBO or JAVA ing of west coast guys JIVE. They are songs and ar­ playing for fun. rangements simply fun to hear 9-10 May, 2009 with unusual lyrics, presented THE ‘E’ FILE The important behind-the-scenes Jerry Gray in an unique way.

In our recent re-institu­ 30-31 May, 2009 The band- tion of alphabetical after several years, we discovered GOODMAN REMEMBRANCE leader ack­ some artists whose names begin with ‘E’ who had been nowledged previously neglected. This session recalls the Elgart’s to have brought dance bands to a new level of public Big Band style of the ‘50s, Bill Elliott’s west coast acceptance, Benny Goodman was in a real sense the band, some Duke Ellington, Ray Ellis, Billy Eckstine ‘father’ of the Big Band Era. In this program we hear and gems you may not immediately recall. Trumpeter comments from Benny Goodman and others illustrat­ Ziggy Elman, for example, led his own band for a short ing his rise to fame as well as details of his life in the time with some nearly forgotten recordings that could bandstand spotlight. Not only will the early Goodman have been top hits in another time. recordings be heard, but a sampling of the Carnegie 16-17 May, 2009 The truth is, we love these Hall Concert highlights and some of his forties gems SURPRISE PARTY shows, the ones with no set from the Columbia archives. Popular music classics subject or format, with the and the voice of Benny Goodman combine to lend a freedom to do whatever comes to mind in the manner personal touch to the Goodman story. of announcers before computers, play-lists and cranky program directors. The announcer (later to be termed 6-7 June, 2009 A listener sent a letter relating her a disk jockey) would come into the studio with no idea RAIN SONGS experience at a concert she atten­ what he wanted to play, and as the program progressed ded where it happened to be rain­ it took on a life of its own, sometimes nostalgic, ing and the performer rose to the occasion by playing

11 VOLUME 122 BIG BAND JUMP NEWSLETTER MAY-JUNE, 2009 songs relating to rain. This entire program is made up depending on the mood of the moment. There have of such songs, from the venerable APRIL SHOWERS been times such programs yield some entertaining to RAINDROPS ARE FALLIN’ ON MY HEAD. recordings from the back room and some spontaneous There’ll be some repeats along the way when we research facts; other times such a program may turn out discovered different versions of the same ‘rain’ song to be pedestrian. If you’re willing to take a chance, so too good to narrow down to just one. Ray Anthony, are we, so once in a while we toss in a BBJ with no prior Gene Kelly, (you knew that was coming!) Erroll Gar­ planning and no specific theme. This is one of those ner, Ted Heath, Judy Garland, Tony Bennett... .they all programs, and good luck to both of us. get in the act. 4-5 July, 2009 In our research, a 13-14 June, 2009 Those of you who CUTE & COMIC (TWO) number of these cute HOLLYWOOD BIG BANDS listen regularly songs were discov­ know the admira­ ered leading to a second program filled with another tion we have for music from movie soundtracks. It may two dozen or more such recordings. Artists perform­ be an imaginary difference in quality, but it seems the ing these unique songs include Bing Crosby, Doris music taken from the movies has a superior technical Day, Alvino Rey, Kitty Kallen, Kay Kyser and Dick quality, and often better artistic quality than the same Jurgens among so many others. Spike Jones, who tunes copied from 78s. We take advantage of that specialized in this type of curious musical presenta­ difference as we present Big Bands from Hollywood tion will certainly be part of the program. Music musicals. Tommy and Jimmy Dorsey (separately), takes many forms and these comic or unusual record­ Harry James, Harry Connick, Jr., Benny Goodman, ings by well-known Big Band Era artists are meant to Ralph Burns and Artie Shaw will all be heard. both amuse and entertain you.

20-21 June, 2009 Everyone re- HOAGY CARMICHAEL LEGACY members Hoagy Carmichael for STARDUST, but there was so much more. More com­ positions, more per­ sonal perfor­ mances, more roles in movies. Since his time recording in a small studio in Indiana,Hoagy Carmichael became a nationally known personality reaching into the lives of most every Ameri­ can citizen in one way or another. That legacy is celebrated in this program with the background anec­ dotes and music of this singular personality.

27-28 June, 2009 The m ost fun pro- COME WHAT MAY grams we do are the ones unplanned. Truth is, even though they’re fun to do, the results vary

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

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Perhaps the finest Big Band girl singer of the era, Helen Forrest is our back page pretty singer for this issue.