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 JIMMY CRAWFORD 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 BIG BAND 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 Woody Herman 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 jazz, 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? Urbie Green 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 ghost band, 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 Boston, 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 Benny Goodman recording of eight years old I listened to Benny Goodman. AND THE ANGELS SING. I was a clarinet 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.