VOLUME XXII BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1992

There is a relatively new record release by Perry The first HIT PARADE broadcast was April 20, Como, recorded just two years ago. I t’s recorded with 1935. Lennie Hayton was the orchestra leader. The Nick Perito’s full orchestra, and sound­ top three songs of that program were: (1) LOVELY ing as good or better than his earlier days, and judg­ TO LOOK AT, (2) LULLUBY OF BROADWAY, ing from the album picture, looking better, too. It’s (3) SOON. BMG/RCA number 6388-2-R.. A good record shop should be able to get it for you they don’t stock it. ****

Cole Porter wrote NIGHT AND DAY particularly to accommodate Fred Astaire in GAY DIVORCEE be­ cause of his limited vocal range. The year was 1932. ****

Young Jerome Kern wrote SMOKE GETS IN YOUR EYES in march rhythm for the Broadway show ROBERTA Perry in 1933. Producers turned it down, but eventually it got in the show as a ballad and became an instant success. Como ****

When the Art Hickman band, which had been ex­ tremely popular on the West Coast moved in 1916 to New York for an engagement at the Biltmore Hotel, while doubling at the Ziegfeld Follies, it was an instant success with the New York players, arrangers and bandleaders who raved about the different style pre­ MORGAN'S CORNER sented by the Hickman band's sax section.

Random Items by Hank Morgan Instead of presenting the saxophone as the usual novelty instrument in the staccato style of the brass, Many composers for Broadway musicals in the 1920’s, the Hickman section played with more legato in the 30’s and 40’s resented performances of their songs by manner of strings, along with counterpoints, solo and the dance bands of the day. harmony.

Jerome Kern detested Paul Whiteman’s ’78 RPM The leader of the Hickman sax section was Clyde recording of his ONLY MAKE BELIEVE with a Bing Doerr, said to be the man who introduced the modern Crosby vocal which he considered “bouncy and style of sax playing in New York. disrespectful of the song’s sentiment and feeling.” **** Records reveal that between 1919 and 1925 one- hundred-thousand saxophones were sold in America, One exception among the composers of the time was along with more sheet music for sax solos than for Cole Porter who loved Artie Shaw’s transformation of piano solos. his BEGIN THE BEGUINE. Critics, however, presented divided reviews. Some said it was the As a result the saxophone came to the fore as a jazz exciting INTRO that sold the record. But critic Ethan instrument in modern dance bands of the day and on Morrden said, "No, it was Porter and Shaw’s techni­ into the Swing era. cally spectacular glissando at the climax that did it!" **** -30-

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