IN THIS ISSUE:

♦ An in-person interview with ♦ LETTERS TO THE EDITOR FRANK TIBERI with comments about BBJ - LOUIE PRIMA - IN THE ♦ A mini-bio of MOOD and more

♦ The history of the STARLITE BALLROOM in Hershey, PA

♦ Information about some BIG BATTLES OF THE BANDS BAWD ♦ Star Statement TRIVIA QUIZ jim p ♦ Sidelight stories about ZUTTY SINGLETON - ERNIE SCHAFF - NEWSLETTER JUAN TIZOL and others

BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 BIG b a n d NEWSLETTER

VOLUME LIX JUMP NEWSLETTER NOVEMBER-DECEMBER 1998

F R A N K T IB E R I IN T E R V IE W

The Background

Reed man Frank Tiberi has been leading the Orchestra since Woody’s death in 1987, and for brief periods before that when Woody was ill and could not appear. He had been a sideman with the Herman organization since 1969, and because of his long tenure, was a logical choice to direct the current Herman orchestra. Frank was also a fan and a friend as well as a sideman.

The year Woody died, Frank Tiberi was quoted as saying of Woody, “He always had an old-fashioned kind of loyalty which you don’t always find in people of his stature. I felt that intimacy that we had. He was also a damn good player. He was the best lead alto player, and he could really ‘slurp’ on the alto. Of course, Johnny Hodges was his mentor. He played that way, but Woody ‘slurped’ even more. He was also a great singer. My association with him, needless to say, has been the best part of my life.” Herman bandleader Frank Tiberi

Frank said he was a little frightened seeing his name on took over the full-time leadership of the band. Just as the marquee during the first year or so he led the Woody Herman seemed to be able to recognize talent in Herman band, but determined to make it as innovative a player, so he was apparently able to recognize talent in as it was when Woody led it. “I’m not going to give any a leader. less effort than Woody did,” Frank was quoted as saying. “Woody never played a polka in his life. I still The Scene wouldn’t play a polka, and I wouldn’t play anyone else’s arrangements. We’re going to remain with what Since the Woody Herman Orchestra had been on the he was doing.” s/s Norway cruises several times, we’d become ac­ quainted with Frank, and phoned him at his Massachu­ It’s been over a decade since Frank Tiberi dedicated setts home. We had to coordinate the phone call with his himself to making the Herman “ghost” band one Woody classes, for he’s a teacher as well as a player of , as could be proud of. Just as Woody did, Frank gives will be pointed out in the interview. Frank is a nice man young players an opportunity to hone their skills with who, like Woody, doesn’t let his status as a public figure the band, even if they weren’t always capable at the get in the way of a natural, down-to-earth approach to beginning. Just as with Woody, Frank likes to see that life.... or to an interview. It was logical that our first talent grow and develop. question to Frank be related to that very subject, the way Woody Herman related to his sidemen. Next year will mark 30 years since Frank Tiberi joined the Woody Herman band, and a dozen years since he BBJ: Did Woody treat his sidemen well? VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998

FT: He was just really great. He was appreciative popular and he would play them, and we do them also. of all the talents that he’s had over the years; As a matter of fact we have a new CD that’s just been young kids. Many of them had their first gig with the released and we play a lot of the old tunes on there, and band, and he’s always been a musician right on through. we’ve invited special guests who have performed on He had loyalty. His editing was just superb. I’ve seen them some years back. Buddy DeFranco and Terry him go through many arrangements and accepting them Gibbs on LEMON DROP, Frank Foster did his compo­ and just turning them around the first time he heard it. sition, MAKE SOMEONE HAPPY, we even had Pete Condoli come in and do WOODCHOPPER’S BALL. BBJ: How was Woody as a musician? did BIJOU. We do everything we think people want to hear. We have contemporary things as FT: He was my favorite saxophonist.... soloist, well. every time. He was really great to hear. He was a great clarinetist, as well. As far as the musicians were BBJ: Woody was responsible for the words being written for LAURA. concerned, he always hung out with them, and he was just as young as they were. We had many who were 22, FT : Exactly. He liked the Milt Raksin theme from 23.... 19 years old coming out from school. the movie and he went to Johnny Mercer and asked him to write some lyrics, and he won a gold record BBJ: How did you get to be leader? for the recording.

FT: I was actually the oldest. He accepted me a BBJ: Are audiences disappointed when the solos aren’t little more. I would hang with him in clubs for the same as they are on the old familiar records? a taste after a gig. I was close to his vintage and we got along quite good right on through. I actually cooked for FT : We consider those past soloists and don’t make him on a Coleman burner sometimes when we were in it too contemporary. desolate areas. We hung out and had a ball. BBJ: How is the split between concerts and dances? I’d been with him 20 years and 1 ’d been in that seat. He never wanted a , so when he got ill I took it FT : We do the Norway, and that’s a dance, but we over and he got so many letters from his friends saying also do a concert on one afternoon. We do a lot the band should continue with the same policy; he was of concert halls.... we do more concerts actually. Enter­ happy about that. When he returned after being ill he tainment centers and subscription areas where they have said he wanted me to have the band. That was it. particular engagements. We also do schools, we do colleges, we do a mix of everything. It’s actually pretty BBJ: Did the IRS lien worry Woody on the road? well split up.

FT: (Laughs) No, not at all. He would get his BBJ: What do you do when you’re not out with the $200.00 a day, and it didn’t bother him at all. band? It was all being taken care of by the business manager; he had no remorse of the fellow that put him in that FT : Just last night I played a concert over in , position. He even contacted the family of the guy who and during the summer time I’m an agent for a got him into the IRS mess. He enjoyed what he was festival there, and I teach at Berkley once a week. doing on the road playing. Fifteen students in a jazz studies class for performers.

BBJ: Woody wasn’t too happy about playing the old BBJ: Can you learn how to be a jazz player? stuff. How do you feel about that? FT : Absolutely, you can. We have a great faculty up FT: I always felt the same way he did. He said he in Berkley, and the exchange students come in, was responsible for the tunes that made him and other students as well, and they get other ideas. I’ve 2 VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998 seen some stu­ orchestra or be a working musician? dents who were a little back­ FT: As long as I can stand up! I’m teaching at ward coming in Berkley and running that jazz festival and I’m and wind up working the band. I’m doing a recording right now as a being great. soloist, scheduled for November. Why die now? What can I say? BBJ: Is there a BBJ: How old are you? certain talent necessary be­ FT: I’m going to be 70 on December 4th. fore a musi­ cian gets to It's obvious that people in the entertainment field, and school? A young Woody Herman talks that includes musicians o f course, seldom retire. That’s to someone to your left, his right. true o f Martha Tilton, who will appear on these pages next issue. Martha Tilton is the girl singer who is best FT: Yeah, this is a perfect example. When I was remembered for her recording of eight years old I listened to Benny Goodman. AND THE ANGELS SING. I was a player at eight. At the age of twelve I was ready for Curtis Institute. I just knew.... I just liked LETTERS TO THE EDITOR the feeling of jazz, the pulsation and Benny really snapped me and that was the scene right there. I got the All letters to the program or the newsletter are an­ and went in that direction. I’ve listened to a swered eventually, although only letters deemed of great many musicians: , . most general interest are used in this newsletter ; please That was the inspiration right there. That’s an example. be patient, for the volume is greater than our ability to Ifthe students are listening to jazz, perhaps their parents handle in a timely fashion. Questions and comments have been involved in appreciation; if they're in that about either the BBJ NEWSLETTER or the BIG BAND environment it would turn them in that direction. JUMP radio program may be sent to:

BBJ: What about the future of the Big Bands? BBJ NEWSLETTER Box 52252 FT: I think they’re going to remain as they are. Atlanta, GA 30355 There are a lot of bands coming up now. They’re a little more frantic.... they’re not as subtle. I The letters that follow have been edited for space think the so-called ghost bands, , Woody considerations, but the meaning has been preserved. Herman, ... they’ll just remain as they are. Swing is bringing the bands around. We’ve played a Tony Arden Concerning the letters from couple of occasions where kids came in and actually San Francisco, CA John Taylor and Arnold jitterbugged. If we can remain we can carry the Rumson in the September-Oc- American Band sound. We have a set band we take to tober BBJ NEWSLETTER: I vote with Mr. Taylor. The gigs- name of the program is BIG BAND JUMP. Seems to me the only songs and instrumentals that should be played BBJ: Howmany dates a year does the Woody Herman are the ones from the Big Band Era. Most people would orchestra play? agree that the era ended around 1950. Let’s not cheapen our memories with inferior music recorded after 1950. FT: This year it’ll be around fifty. I think last year Thanks for considering my “vote” and keep up the great was about 40 or 45 dates. work. BBJ: How long will you be the leader of the Herman (continued next page)

3 VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998

Bill Mustarade Mr. John Taylor of West- better current bands. Ithaca, NY minster, Maryland is right on. Seems several stations play BIG BAND JUMP, as you know, deals with “memory” ’50s music but not many play ’30s & ’40s music. I urge sounds and stories about the great bandleaders, you to keep BB J “pure” and play only thirties and forties sidemen and . We would like to feel, music. Big Bands forever! however, that the program is STYLE-based rather than CALENDAR- based. That approach gives you as Bob Brookmeyer You say that you don’t want to a listener the freedom to hear what’s going on today, Jamestown, NY repeat the likes of IN THE without sacrificing the memories o f yesterday. MOOD too often in a program lasting only two hours a week. Baloney! Why not? We refer you to the program featuring young ’s is the greatest recording bandleader Thilo Wolf. (See UPCOMING BBJ EVER! (The writer’s underlining.) Please play it PROGRAM TITLES.) These programs with several times every program. younger talent have been part o f BBJ for years.

Merwyn Bogue, Jr. I wholeheartedly agree with Incidentally, we ’re thrilled to get a letter from “Ish Sloughhouse, CA John Taylor’s letter. Please, Kabibble ’s ” son, the letter from Merwyn Bogue, Jr. please stick to music of the He didn 7 identify him self as such, but there can 7 Big Bands on BIG BAND JUMP and eschew anything be many Merwyn Bogues in the United States! recorded after 1950 and all soundtrack music. Arnold Thanks to all of you for your interest, your Rumson’s “singers of the 1950s” can be heard on many involvement and your sincerity! nostalgia radio stations all over the country, but there is only one BIG BAND JUMP! Henry Hook A song that was very popular and very Livonia, MI good that I remember from the early We haven’t received so much mai Iona subject since the ’40s was ROBIN HOOD. It didn’t controversy over the original lyrics to MAKE BELIEVE have a long run but was great dancing. Can you tell me BALLROOM TIME. Ofcourse we 're devoted to the Big of its genesis? Bands! O f course we believe in playing them. We also believe vocalists outside the Big Bands, in general, Louis Prima, who performed ROBIN HOOD as heard should not appear on the program except when they on the BBJ program of October 24-25, 1998, has have some significance to the subject o f the program. enjoyed a resurgence ofpopularity since the use o fhis (That thought about ’50s vocalists was a letter from a recording of JUMP, JIVE AND WAIL on a jeans listener, not our comment.) Big Bands, however, won’t commercial on TV. Because ofthat popularity, you can be forever if we don't support fresh, new, exciting now get a compilation o f Louis Prima ’spost 1956work bands. Without meaning to be repetitive, we strongly on Capitol CDP 7940722, including JUMP, JIVE feel that much o f the Big Band material recorded in the AND WAIL but not ROBIN HOOD. It may be past decade or so is excellent. Sure, we want to spark those memories with great classic recordings, but they can be combined with current bands who have something to offer. Embracing these new bands in a mix with our long-time fa­ vorites helps keep Big Bands alive, and it would be selfish o f us as a generation to deny future generations the sound ofthe Big Bands because we want to exclude some o f the Louis sings and plays 4 VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998

found on Savoy Jazz CD ZDS 4420, as taken from the original Majestic 78. He wrote ROBIN HOOD, SPRING BIG BAND CRUISE BROOKLYN BOOGIE and SING, SING, SING. He also contributed to the writing o f SUNDAY KIND OF LOVE, recorded successfully by Fran Warren with Claude Thornhill's orchestra. With all this, we don't know the origin o f the idea for ROBIN HOOD, but the character was the subject o f some movies at the time. Louis Prima died on August 24,1978 in New Orleans.

Patricia Rosso Thank you so much for your Dearborn Heights, MI wonderful show. I cannot stress enough the wonderful nostalgia. I just subscribed to the BBJ NEWSLET­ TER. Fantastic! I heard some months back that and the late Paul Weston’s daughter was/is singing in New York or Los Angeles. I’m curious to know if she sounds at all like Jo Stafford.

Amy Weston sings with the Los Angeles based Bill Elliott orchestra, featured as an interview subject a couple o f years ago in this newsletter. Amy has some o f the qualities o f her mother, but came to Big Band performing through exposure to rock, and to our ears has some o f the rock influence apparent in The Mills Duo her voice. Jo Stafford told us she wishes she could Since the last issue of the newsletter, the Spring Big sing both rock and standards as daughter Amy does, Band Jump cruise has been confirmed for March 13, but she says she can’t. (Phew! Are we glad she d oesn’t!) 1999 on the s/s Norway. The Norway will sail from Miami to the Caribbean ports of St. Thomas, St. John and St. Martin, as well as the private island of Great Robert Tiess Enjoy your show on WNOS Stirrup Cay. The Spring cruise is designed especially for River Bend, NC New Bern, NC. Why not a dancers, with the often demanded Latin rhythms of the few theme programs devoted Xavier Cugat orchestra directed by Ada Cavallo, the to BLUE TONES: Blue Champagne, Blues In The dance book of the Woody Herman orchestra conducted Night, Blue Hawaii, Blue Gardenia, Mood Indigo. by Frank Tiberi and the consistently popular Russ WOMEN’S NAMES: Marie, Mary, Mona Lisa, Geor­ Morgan orchestra led by son Jack Morgan. gia Brown, , Sioux City Sue, Rosalie, Dinah, Lili Marlene. MEN’S NAMES: Bill For listening, the cruise will present the last of the Bailey, Oh Johnny, Jim, Mr. Wonderful, Happiness Is original Mills Brothers, Donald Mills, who is teamed A Thing Called Joe. TAVERN SONGS: Beer Barrel with the second generation John Mills to form the Polka, Sparrow In The Tree Top, Good Night Irene, Mills Duo, singing the songs that made the Mills Daring Young Man On The Flying Trapeze, A Tavern Brothers famous. In The Town.

Information, a color brochure and/or reservations Send the Spitfires back to the hangar and give a may be had by phoning Jan Rodgers toll-free at deserved rest to those tunes you play so often. 1-800-666-4988.

5 VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998

Technical and musical quality is excellent. Available BOOKS AND RECORDS TO CONSIDER) from Hepcat Distribution at 1-800-404-4117.

EDDIE REED BIG BAND BATTLE OF THE BANDS HOLLYWOOD JUMP Ellington vs. Count Basie Hepcat Records RCA Victor 09026 63130-2

If you want to hear the original arrangements of those What a wonderful idea for making use of so many of the wonderful Big Band melodies, this is not the CD for you. vault recordings which would otherwise never be heard again. Victor has issued a series of CDs called BATTLE OF THE BANDS pitting one band against another; in this instance the two piano players, Ellington and Basie. There’s a lot of familiar music included, but quite a bit of less-heard material.

Count Basie’s contributions include BILL’S MILL, BACKSTAGE AT STUFFS, BYE BYE BABY, SWINGIN’ THE BLUES, ST. LOUIS BOOGIE, SOUTH, ONE O’CLOCK BOOGIE, HOUSE RENT BOOGIE and SEVENTH AVENUE EXPRESS. ’s cuts include C-JAM BLUES, JUST SQUEEZE ME, IN A MELLOTONE, MEMPHIS BLUES, SUDDENLY IT JUMPED, ROYAL GAR­ DEN BLUES, CONCERTO FOR COOTIE (DO NOTHIN’ TILL YOU HEAR FROM ME), MAIN STEM and TAKE THE A TRAIN.

Reed man Reed As many of you know, there used to be Battles of the Bands in ballrooms across the nation, with two bands If you like to hear varied presentations by a current Big appearing at one time, each trying to outdo the other. Band, then you might consider giving this CD a try. While these recordings do not have the advantage of Nothing will ever replace the originals, of course, but competitive spirit, they do bring to light some of each here’s a reed player and vocalist with a fortunate name band’s most interesting cuts from the Victor archives. who has a dynamic Big Band, plus an appreciation for Johnny Hodges, Ben Webster, Cootie Williams, Jimmy what came before. Rushing, Paul Gonsalves and Sweets Edison are some NATCH is a jump tune from 1946. BOOGIE BLUES of the stars heard in these cuts. is the Krupa standard with the vocal by a gal named Meghan Ivey who happens to be Eddie Reed’s daughter. Also available in the series: Shaw vs. Goodman & There are too many vocals on this CD for this reviewer’s Millervs. Dorsey. See Miller vs. Dorsey review below. taste, but the band is solid, the arrangements are well Available from BBJ Sales, 1-800-377-0022. played and the approach of the entire CD is with respect for the past without being cloying. Of the twelve cuts, BATTLE OF THE BANDS seven have a vocal. The instrumentals include the swing Glenn Miller vs. favorite JAZZNOCRACY, Duke Ellington’s COT­ RCA Victor 09026 68723-2 TON TAIL and Count Basie’s 1940 composition HOL­ LYWOOD JUMP, for which the album is named. C- , Eberle, Leonard and Beneke are heard in this JAM BLUES is included, and a Prez Prado type Latin album, with 10 selections by each band. The two themes presentation of LA MACARENA hies back to a few start the CD, with the two top record sellers by each band years ago at the Democratic National Convention. following: IN THE MOOD and BOOGIE WOOGIE. (Please fold on dotted line)

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BBJ NEWSLETTER Box 12,000 Atlanta, GA 30355

BBJ NEWSLETTER Box 12,000 Atlanta, GA 30355

(Tape or Staple Here) TH E CENTER SHEET OFFER - IN STEREO Two CD set

The year was 1972. The official Glenn Miller Estate Orchestra was then directed by clarinetist Buddy DeFranco. An idea was conceived to add to that group some of the then remaining members of the ORIGINAL Miller orchestras, both civilian and military. The result was spectacular, and captu red in stereo.

The voices represented include , Johnny D esmond, Ray McKinley, with Dorothy Claire, Chuck Goldstein and Ralph Brewster of the original Modemaires, and Gene Steck of the original Crew Chiefs.

Instrumentalists who returned for the recording include: TRUMPETS: Johnny Best, Bemie Privin, Dale McMickle, . CORNET SOLOS: . REEDS: , A1 Klink, Hank Freeman, , Chuck Gentry. TROMBONES: , Johnny Halliburton. DRUMS: Ray McKinley. BASS: , Rollie Bundock. GUITAR: Carmen Mastren. ARRANGERS: , . THE MOONLIGHT SERENADERS: Chuck Goldstein, Ralph Brewster, Gene Steck, Jerry Graff, Lynn Roberts & Alan Sokoloff.

It's not possible to make Glenn Miller come alive again, but this album set is the closest thing to it. Many of the original players, both vocal and instrumental, bring their enthusiasm and experience to bear in making these interpretations as close to the original as possible.... PLUS being recorded in stereo with the latest techniques of 1972, and the digitization of the '90s.

Here are the times included in the two CD set:

STRING OF PEARLS, ADIOS, I'VE GOT A GAL IN KALAMAZOO, , , DON'T SIT UNDER THE APPLE TREE, PENNSYLVANIA 6-5000, , IN THE MOOD, , ALONG THE SANTA FE TRAIL, ANVIL CHORUS, NOW IS THE HOUR, PERFIDIA, MY SENTIMENT, LITTLE BROWN JUG, RHAPSODY IN BLUE, , VOLGA BOATMEN, , ELMER'S TUNE, SUN VALLEY JUMP, , ST LOUIS BLUES MARCH, , , SWING LOW, SWEET CHARIOT, ALICE BLUE GOWN, LAMPLIGHTER'S SERENADE and EVERYBODY LOVES MY BABY.

Thirty (30) selections comprising well over an hour and a half of Miller music played and sung by many of the original members of the Miller orchestras.

(Two CDs $ 26.00 (Includes FREE shipping & handling) (V-2) ( (Two Cassettes $ 18.00 (Includes FREE shipping & handling) Special price offer for BBJ customers.

Please fill out and return this sheet, using the self-mailer as indicated on the reverse, or an envelope, and send to: BBJ NEWSLETTER - Box 12,000 - Atlanta, GA 30355. Or call our toll-free order line - 1-800-377-0022. Account Number Expiration Date

M Month Please send me: (V2) ( ) Two CDs @ $26.00 (FREE shipping & handling) I ( ) Two Cassettes @ $18.00 (FREE shipping & handling)

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CITY ______STATE______ZIP______I’m enclosing a check or money-order, or please charge to my VISA or MASTERCARD, as above. COMING UP IN FUTURE ISSUES OF THE BIG BAND JUMP NEWSLETTER

In-person interviews with outstanding Big Band music personalities.

Reviews of books and records to consider for serious collectors of Big Band music and information.

Anecdotes and background stories about the key personalities of the Big Band scene.

News about the men and women keeping the Big Band sound alive in the United States and throughout the world.

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(The BIG BAND JUMP NEWSLETTER makes an excellent gift for anyone interested in the Big Band Era, the development of Big Band music or those who collect recordings and books about the Big Bands.) (Please fold on dotted line)

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(Tape or Staple Here) VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998

There are two INDIAN SUMMERS two YOU AND I versions, two IMAGINATIONS two FOOLS RUSH IN, a pair of STARDUSTs and two OUR LOVE AFFAIRs. The pattern ends with Miller’s STRING OF PEARLS and Dorsey’s OPUS ONE.

The concept is fun, the comparison in this album with seven twins is a delight and each cut is carefully engineered to bring out the best possible sound. Without meaning to sound like a Victor salesman, this idea gives new life to previously oft-used recordings that have been just waiting for someone to present them in this Precise drummer Jimmy Crawford imaginative way. The year was 1927. Many of the same sidemen who Total time over an hour. Available from BBJ Sales. made up the Syncopators went on to work with the band as we know it, and that THE BEST OF THE stability plus the crisp drumming style of Jimmy GLENN MILLER ORCHESTRA Crawford made the ensemble work of the band among the finest of . A two album delight with some of the original Miller orchestra members. See center yellow page for avail­ In 1943, Jimmy Crawford left the Lunceford band to go ability from BBJ Sales. out on his own. He was quoted as saying, ‘‘We were the biggest one-nighter band in the world, year in and year JIM M Y CRAW FORD MINI-BIO out, from Maine to Florida, from New York to Califor­ nia, all the time, until I was sick of it.” Crawford went This is part o f a series o f mini-bios to acquaint us on to record with a number of jazz musicians, including with the sidemen who were so much a part o f the Big Ben Webster, (formerly ofthe Lunceford Band scene, and who often did not receive the group), , Benny Goodman, Dizzy recognition they deserved. These short biographi­ Gillespie and Count Basie, as well as on recording dates cal profiles appear as space permits. with singers , and . From 1952, while he was recording during the In the development of information concerning the day, he was in demand at night to play for a number of Big Bands over the years, certain names are often Broadway musicals, sometimes adding up to 14 to 18 repeated, forming a pattern to let us know of the hour days. importance of that person simply because he or she is referred to so much. Some observers say Jimmy Crawford’s drumming style always carried with it the overtones of Big Bands, even Such a name is drummer Jimmy Crawford. Reviews of as he adapted to a variety of musical situations. His the Jimmie Lunceford band credit its consistent beat and playing was reminiscent of Chick Webb’s with clean, much of its cohesion and quality to the work of Crawford. well-controlled, meticulous patterns and neatly per­ Drummers, speaking of men who could perform in formed solos. nearly any style, always refer to the adaptability of Jimmy Crawford. It is because of this awareness of his Jimmy Crawford, bom in Memphis in 1910, died in New value, increasing with frequent mentions over the years, York City just 14 days after his seventieth birthday in that we discovered who he was. 1980. It turns out that Jimmy Crawford began his professional life with Jimmy Lunceford, making his first recording Next issue, another of the Lunceford alumni will be with the Lunceford Chickasaw Syncopators at age 17. profiled: a mini-bio o f /arranger . 7 VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998

S TA R S TA TE M E N T TR IV IA QUIZ The quiz we did last issue based on statements from musical personalities worked out so well, we prom­ ised we’d do another this issue, based on quotes which appeared in BBJ NEWSLETTERS from the 14th through the 25th issues, dating from May-June, 1991 to and including July-August, 1993. This does not mean, please understand, that you have to ac­ quire those issues or even that you had to have been a subscriber during those years, for the attribution of the quotes will be reasonably evident to any deeply ingrained Big Band fan. (If they were too easy, none of this would be any fun!) W e’ve taken a few liberties with the quotes, condens­ ing the artist’s statement to make the meaning more precise, but aside from that the words are as they were spoken in the in-person interviews that have appeared in these newsletters since the spring of 1989. Match the statement on the left with the musical personality’s name on the right, and best of luck to you. Handsome in 1939 Answers elsewhere in this issue.

1) I loved playing with Benny, Lionel and in our quartet. A) Johnny Mercer

2) My favorite piece is my theme, FLYING HOME. B) Charlie Barnet

3) I changed my name legally from A1 McBumey about 1946. C) Woody Herman

4) I asked him if he thought LAZYBONES would make a good title. D) Doris Day

5) The high point was when Igor Stravinsky wrote EBONY CONCERTO for us. E) Teddy Wilson

6) Those musicians in Hong Kong knew NIGHT TRAIN. F) Helen Ward

7) I left the band just before Benny went into the Paramount. G) Lionel Hampton

8) Butch Stone has been with us since 1941. H)

9) I guess the most famous one was Lena Home, then we had and my favorite, Fran Warren. J)

10) My favorite was TRLMPET RHAPSODY. K) Buddy Morow

11) My dad had a grocery store in 1922 at the comer of sixth avenue and fifty-second street. L) Les Brown

12) When Les called for SENTIMENTAL JOURNEY, no one had ever heard it. M) Tony Bennett

8 VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998

soundtrack one day and the next you did the posing. BBJ ON INTER NET AUDIO Thornhill had played a beautiful passage at the end of one number and Schaff asked him to let him hit the You can’t hear it in your car, but if you don’t hear BIG vibraphone for the camera as though he had played it. BAND JUMP on your favorite station with the quality Thornhill agreed readily enough, but then some jokester and timeliness that station represents, you can catch hid the mallets. While the sound of the passage was repeats of the program on the internet at being heard on the soundtrack, the movie showed Ernie WWW.BROADCAST.COM/RADIO/CLASSICS and looking for the mallets!” then click on BIG BAND JUMP or our sister program, **** THE DON KENNEDY SHOW. The technical quality will vary depending on the phone line connection at your recalled that Juan Tizol threw a stink location, and it’s always best to hear BBJ on your radio bomb behind the three Duke Ellington players who were (and certainly more convenient) but if that’s not pos­ out front playing harmony on MOOD INDIGO. They all sible, the repeats are available for you. broke up, and giggled so much they couldn’t finish. But Barney tells how they got back at trombonist Tizol:

SIDELIGHTS “We went out and bought some itching powder. We got to the dressing room early and put this all in Tizol’s Humorous anecdotes about people in the music busi­ tuxedo. All over his shirt. Everywhere. Hodges was in ness, some from JAZZ ANECDOTES by Bill Crow, on it, in fact everyone in the band was in on it. I guess published by Oxford Press, New York. they’d had enough of those pranks and seeing how he was the instigator we were going to give Tizol holy hell. Xylophones and chimes were added to some of the early Big Bands because they looked good on the stand. The “We went up on the stage and the Klieg lights hit him. drummers who had to play them didn’t know much After half of the first number, the itching powder starts about them. tells of drummer Zutty to work and Tizol starts moving around. When he Singleton’s first xylophone at the Savoy Ballroom: started perspiring that made it even worse and after a few more choruses he was really going with that stuff. He “He didn’t have but one note to play at the end of a couldn’t make the end of the piece and had to run off the number, but everybody was going up there to hear him stage cussing everybody. He couldn’t take it and it play this xylophone. He had put a piece of paper on the wasn’t funny to him anymore. That kind of broke him note he wanted to hit, but during intermission somebody of that habit, and the pranksters in the band cooled off moved it, so when the band finished he hit a note now the ringleader was off of it.” completely out of tune. Everybody fell on the floor, and he didn’t know what to say. Zutty almost quit the band THE FOLKS WHO PUT THIS NEWSLETTER right then.” TOGETHER: Editorial decisions: Hagen Williams **** Features and some random input: Don Kennedy Pee Wee Erwin tells this vibes story about a drummer Typesetting, layout and advice: HerbGershon named Ernie Schaff with the Freddy Martin orchestra: Proof reading, research & mailing: Ethel May Sadler “Ernie was a real nice guy from Fort Lee, New Jersey. Contributing writers and advisors: John Barbe, Once the band was booked to make a movie short for Arthur Montgomery, Richard Grudens Warner Brothers at their studio in Brooklyn. Claude Subscriptions & renewals: Tommie Anne Thornhill used to double on vibraphone once in a while, Crissman hit last chords and such. But Ernie decided it would be Printing: Eagle-Empire, Inc. nice if it was made to look on screen as though he were ... .and a bundle of readers who make this effort possible. Our thanks to all of you. the one playing vibes. Well, in those days you made the 9 VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998

sions, and despite one or two attempts to open it on a STARLITE BALLROOM consistent schedule, dancers didn’t come. On March 21, 1977, precisely sixty years from its introduction to Hershey, Pennsylvania Central Pennsylvania dancers, the Starlite was demol­ ished, leaving only a seeded area to mark the spot where the stately old pavilion had stood. The ballroom stories appear every so often in the BBJ NEWSLET­ TER..

ANSW ER S T O S TA R STATEM ENT TRIVIA QUIZ

1- E Teddy Wilson talks about his days with the Goodman quartet. 2- G Lionel Hampton’s reference to his theme, dating from the Goodman years. 3- J Alvino Rey legally changed his name during Navy service in 1946. 4- A Johnny Mercer’s question to Hoagy Carmichael about their first hit together. ______The Starlite about 1940 5- C Woody Herman was a fan of Igor Stravinsky, and vice-versa. Dancers came by trolley from Lebanon and Harrisburg 6- K Buddy Morrow speaking of the talents and knowledge Pennsylvania when the Starlite Ballroom opened for of musicians overseas. business in May of 1917, and continued to be open from 7- F Helen Ward, Benny Goodman’s first girl singer. May until October for sixty years. The Starlite was 8- L Les Brown on the long tenure of sax man, band manager nestled among the trees along the lake, taking advantage and comedy singer Butch Stone. of the cool breezes helping keep the dancers cool during 9- B Charlie Barnet speaking of some of the vocalists who summer months, and there was ample room for dancing. sang with his band. 10- H Harry James’ answer to his favorite recording by his The Starlite had a nearly 23,000 square foot dance floor, band. It was never performed “live” and only recorded once. with thousands of yards of fabric draped from the 11- M Tony Bennett reminisces about his dad’s store. His ceiling to help create a luxurious atmosphere. dad died when he was nine. In the earlier days and into the ’40s, men who wanted to 12- D Doris Day recalling the first time she heard (and sang) SENTIMENTAL JOURNEY. It was during a rehearsal at get into the Starlite had to wear neckties and coats; the old New York Pennsylvania Hotel. women were required to wear dresses. For those men who either forgot the tie or thought they get in without Because some of the statements were fairly obvious, you’ll it, ties were on sale by the management for 25 cents each. have to get at least 10 to be eligible for tickets to next week’s Admission in the ’30s was 30 cents to listen to the band, dance at your local ballroom. You’ll have to buy and pay for but if you wanted to dance the cost was $1.85. them yourself, of course.... but you’ll be eligible. Six to nine correct and you may avoid listening to your kid’s or your All the top bands played the Starlite, usually to generous grandkid’s or anyone’s rock or rap CDs. Three to five right crowds, but records indicate the only band that ever answers is on the lower edge of possibility, but it’s OK; not failed to draw a profit-making crowd was Lawrence good, but OK! Two or fewer correct answers and you’ll have Welk. to write an excuse to Hagen Williams and Ethel May Sadler explaining why you didn’t try harder. By 1965 the Starlite was open only for special occa­ VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998

U P C O M IN G B B J PROGRAM T IT L E S with Doris Day and the interview programs that follow, reaching at least a portion of the audience who may have Oct. 31/Nov. 1, ’98 (Repeat listing for the benefit missed the previous airings. EARLY’40s HITS of new subscribers.) Most who view the Big Band scene Doris Day speaks of her days growing up in Cincinnati, her agree that the key time in the Era was the early 40s, so we dancing career cut short by a tragic auto accident, her entry go back to that time to review the records we into singing and her failed marriages. Fasci­ were hearing then on the juke boxes across nating words from an icon of this century. the land. Concentrating on the first two years of that decade, we ’ 11 hear Goodman ’ s DARN November 21-22, 1998 When these THAT DREAM, Jimmy Dorsey’s ALL THE COUNT BASIE SPEAKS interviews THINGS YOU ARE and the venerable I’LL were first re­ NEVER SMILE AGAIN, with corded, we had absolutely no idea how MAYBE and WE THREE, Will Bradley’s valuable they’d become in the future. Our BEAT ME DADDY, Duke Ellington’s interview with Count Basie in the kitchen of TAKE THE A TRAIN, and Artie Shaw’s a ballroom between sets was done with the perfect recording of STARDUST. Vaughn blind expectation that Count Basie would Monroe will be in there, and probably Harry always be here; always be leading a band and James, for while they both had been touring entertaining us forever. Now, these years and making records for a couple of years be­ later, the Basie words take on a new fore, they both emerged as Big Band stars in 1941. It’ll be dimension of importance, for he is a giant of not only the a sentimental romp, but more than that, the hour will Big Band Era, but of the overall development of music in display some coveted music that ’ s proven its worth through this century. the years. Never a verbose man, Count Basie succinctly recalls the origins of JUMPIN’ AT THE WOODSIDE and ONE November 7-8, 1998 We’ve done several O’CLOCK JUMP, and then mentions the newer arrange­ BIG BAND THEMES of these theme pro­ ments and the men who supply them. He comments on fans grams, and they’re and the development of the “Basie sound.” The interview among the most popular show subjects. In this program we was recorded in the 1970s, but is as fresh today as when it play ONLY themes, unlike past shows when we mixed the was conducted. familiar themes with equally familiar top record hits of each band. For two solid hours this session, we’ll concen­ November 28-29, 1998 is in his trate on the melodies (and sometimes songs) which iden­ RAY ANTHONY SPEAKS ’70s, but he’s still very tified the Big Bands on radio broadcasts from ballrooms active in the Band busi­ and the studio. Often, as we’ve mentioned, the actual ness, leading his orchestra often for cruises and most names of the themes were either unknown or little known recently in Merv Griffin’s hotel club for an extended to the public, but their sound was eminently known through engagement. Ray has released at least one new recording repetition. Both the sweet and swing bands will be each year, as well as re-releasing some of the dancing gems represented, as well as some background behind the cre­ from previous albums, all under his own Aerospace label. ation of many of the themes. As with bandleaders of the past, Ray is a canny business­ man as well as a musician, combining those two talents as November 14-15, 1998 As so often occurs, a a formula for success in the difficult band business. DORIS DAY SPEAKS phone call from a lis­ tener prompted the fol­ His comments are casual, fluid and direct. Just as Count lowing list of BBJ programs. He asked why we didn’t Basie was a reluctant interview subject, Ray Anthony is an interview Doris Day. We had already interviewed her and easy interviewee, presenting the answers to even the most developed a Les Brown/Doris Day program around that far-out questions with comfortable understanding. Some interview. That phone call gave rise to the fact that not swingin’ music as well as dance music, combined with everyone hears every program, and in the list of programs Ray’s comments on this two hour session. we’ve done over the years is hidden a wealth of material December 5-6, 1998 Another of those in- which needs to be heard again; thus this interview show CI1ARLIL BARNET SPEAKS terview moments to VOLUME LIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1998 treasure. We spoke with Charlie Barnet six months before December 26-27,1998 This last program of his death, asking him about the development of many of his LEFTOVERS/ the year features some hits, such as CHEROKEE, POMPTON TURNPIKE and REMOTE BROADCAST music left over from SKYLINER, and even asking him about his multiple previous programs, marriages. As we look back, we can see this was a plus a “live” recorded dance band remote in the manner of developmental period in the Era of the Big Bands, and the the golden age of radio. First, some Ted Heath, Johnny words of Charlie Barnet profile some of that development. Mercer, rare Tommy Dorsey, obscure Barnet and others in a mish-mash of recordings we passed over during the year. Charlie was a handsome man with a private income who Good stuff, just omitted from previous programs for one didn’t need to lead a band, or do anything else to make a reason or another. We’ll check into the leftovers for the living; thus his music reflected a certain purity of purpose first 90 minutes. sometimes lacking in other organizations. The last thirty minutes will be devoted to a remote Big Band December 12-13, 1998 This kid Thilo is now broadcast of the Atlanta Seventeen dance band, captured at THILO WOLF SPEAKS in his early 30s He an Atlanta ballroom as they played for the Hump Pilot’s plays the piano, com­ Association dance, an affair attended by the veterans of the poses and arranges, leads the orchestra, and even plays China-Burma-India theater who flew cargo over the drums once in a while. He is a devotee of Count Basie, and Himalaya mountains during WWII. The Seventeen is a his orchestra has some of the Basie flair without being long-time fixture in the Atlanta area, staffed by a group of imitative. Why isn’t he more popular in the Big Band musicians who could have been professional musicians, world? That’s a perplexity that has to do with marketing, but chose to be doctors, insurance men, or teachers in the public taste, adherence to familiarity and economics. Here daytime. They follow their first love, playing in a Big is a young man who has unusual musical ability, a deter­ Band, at night. This could be the start of a series of such mination to succeed, a dynamic, solid orchestral sound and dance band remote style broadcasts, originating from all a couple of CDs out demonstrating that sound, but no one over the nation, highlighting Big Bands playing in their knows who he is. own environment.

He is a German citizen, performing in Germany, so dis­ January 2-3,1998 Often the Big Band melodies tance may have something to do with the lack of Thilo Wolf DANCE PARTY we highlight are for listening appreciation. His is a fresh, new band and those who are only, not for dancing, but on this devoted to the classic names in bandom may reject him as program every tune will be danceable, with some orches­ diluting the purity of memory. Whatever the reason, he tras featured which would seldom be otherwise heard. For needs exposure, for his product is sensational. This is our example, there’ll be some Xavier Cugat, a touch of Lester way of putting his name before you for your appraisal. Lanin, a visitation with and a tune or two from Russ Morgan and his son Jack. The ever danceable December 19-20,1998 What is it about the Ray Anthony will be represented, as will Glenn Miller, SOUNDS OF CHRISTMAS holiday season that whose prime strengths were in appealing to dancers while brings forth a different also making the music interesting to hear. feeling among us all? What unseen magic occurs that makes us more tolerant of others, more generous in our The supposition here is that the New Year’s celebration praise, more warm in our human relations? Whatever it is, will continue into the weekend and if you’re not dancing we’ll attempt to enhance the atmosphere of the holidays you might just enjoy hearing melodies with a consistent with the traditional music of Christmas, as you may have beat that appeal to the feet. experienced it in your childhood. A Glenn Miller radio broadcast from the early ’40s will set the scene, then **** today’s Miller orchestra will expand on that picture with freshly recorded songs of the season. There’ll be a few Programs are scheduled as above, but there are in­ memorable dramatic radio moments to recall, plus a con­ stances when news or sports programming pre-empts tinuing description of a traditional Christmas. .. maybe BBJ, so please check your local adult standard station your Christmas as a child. to confirm time and title.

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