BIG BAWD NEWSLETTER JUMP

VOLUME XIX BIG BAND JUMP NEWSLETTER______MARCH-APRIL, 1992

BUDDY MORROW INTERVIEW

The Background

For years, Buddy Morrow was one of the most sought- after trombonists in the studios, with a background of experience with several of the Big Bands, including Eddie Duchin, Artie Shaw, Vincent Lopez, Bunny Berigan, Richard Himber, Tommy Dorsey, Paul Whiteman, Bob Crosby and Jimmy Dorsey.

It was in late 1945 he formed his own band and changed his name from Muni (Moe) Zudekoff to Buddy Morrow. That band had limited success, and he disbanded in early 1946 to work in the New York studios until 1951 when he re-formed his band and achieved public acclaim with a series of records including NIGHT TRAIN with which he is now permanently identified.

For the past couple of decades, Buddy Morrow has directed the official TOMMY DORSEY ORCHES­ Buddy Morrow TRA, thought by many to be the best name band on the and calmly answered all our questions, supplying road today. It's interesting to speculate what Tommy additional information until the very last minute, then Dorsey would have thought if he had known that the stepped onto the stand to play the familiar GETT1N' nineteen-year-old kid in the trombone section during SENTIMENTAL OVER YOU Dorsey theme. the 1938 recording of BOOGIE WOOGIE would some day lead the band. The Interview

The Scene BBJ: During those days you were based in New Baritone player, arranger and former road manager York working in the studios, did you ever have time for Buddy Morrow, John Barbe, arranged the inter­ to jam? view for BBJ NEWSLETTER when the TOMMY BM: During those days, everything was going on DORSEY band was playing a club date in Atlanta. in New York on 52nd Street, and they had tremendous Barbe and his wife Jane, a former vocalist with the jam sessions there. You could go from one joint to Buddy Morrow band, kept in touch with Buddy after another. I played with such people as Bunny Berigan, they settled in Atlanta, and with that connection, Artie Shaw and a couple of other people, and they Buddy talked to us freely. recommended ... especially Artie Shaw ... that I move We were crowded into a tiny office just before the first to New York from my home in New Haven. A few set, with the musicians tuning up in the back room and weeks later I got the call to start the next night with the phone constantly ringing, but Buddy courteously Tommy Dorsey. Everybody has their heroes, and VOLUME XIX BIG BAND JUMP NEWSLETTER MARCH-APRIL, 1992

Tommy had done so much for the trombone; got it out BBJ: What was the most fun you ever had playing of the circus and made a respectable instrument out of for someone else? it. I was just a kid then. I was thrilled. BM: I took a job with Bob Crosby in the late BBJ: Did you get the trombone chair in the Dorsey thirties, and I must say I had one of the happiest years band? of my life with that band. In spite of Bob it played beautifully. Bob was a delightful guy, a wonderful BM: Not then, but I did move to New York with all story-teller and treated us very nicely, and he managed of 35 bucks in my pocket. We used to get coffee and to stay out of our way. One of the really great talents a doughnut and orange juice for fifteen cents. I lived in the band, bar none, was Bobby Haggart. Unbeliev­ on a dollar a day and room rent was a dollar a day. able talent ... and Dean Kincaide, and Yank Lawson and Matty Matlock. BBJ: Were you able to stay in New York? BBJ: Were you called up for military duty? BM: Yeah, and I was offered a scholarship to Julliard. My teacher made a startling statement to me. BM: I was in the Navy, but didn't see any overseas He said for what I was doing there was nothing he service. I was a musician. After I got out of the Navy could teach me, and he meant that in a complimentary I wanted my own band. I went briefly with Jimmy way. I let the scholarship go, and I went from Eddy Dorsey and then established the Buddy Morrow Duchin's band to Artie Shaw, and in the interim I Orchestra. That lasted about two years, but I was worked with Vincent Lopez, Charlie Barnet; did a lot broke after that attempt and went back to work in the of recording with guys like Wingy Manone. In those real world ... back in the studios. After about four days the name was Zudekoff. I was working for years I got this chance to record for RCA Victor and Richard Himber when I got a wire from Tommy among the bunch of records was NIGHT TRAIN. I offering me the job with his band for the magnificent think in my lifetime I've probably recorded several sum of $125.00 a week, and that included a radio thousand records. I had my own band for a long time. show. It wasn't as fulfilling as I wanted. We were playing rhythm and blues, and that takes so much out of you, BBJ: Was that top pay for the time? so it took kind of a dive for a while, and during that time we went to the lush ballad style. BM: No. Tommy had a lot of guys who were making $ 165 or $ 175 with some getting $200 or $250. BBJ: Did that last? At the time I was happy to go with him and I learned a lot, but when I found the third trombone man was BM: It became evident that the world wanted rock making more that I was by forty bucks a week, I n' roll and the Big Bands never did get on that. About decided to go with Whiteman who was offering me a that time my daughter was born, my second child, and lot more money. I didn't want her growing up without me, so I limited my work and did mostly studio work, but still BBJ: When did you go into the studios? performed on the weekend with my band.

BM: I left Paul Whiteman to go into radio. At that After awhile, the studio work became boring, and time CBS for six or seven days a week was paying 90 about that time I was offered the thing with the Tommy dollars a week. That was the scale for a house job. I Dorsey Estate; about nine months prior to that I left CBS to go with Johnny Green, doing three Phillip conducted the Miller Band. I said, "I'll do it for a few Morris shows a week. That was really good money, weeks until you get somebody." I'm now in my because I could work anywhere else I wanted during fifteenth year. the week, so I was actually free-lancing. I turned 21 when I was with Johnny. BBJ: How does your Tommy Dorsey band compare with the original? VOLUME XIX BIG BAND JUMP NEWSLETTER MARCH-APRIL, 1992

BM: The band is great. It is the best road band A subscriber named Robert Murphy of Miami in­ today. My trombone style is completely different, but quired of Herbie Fields. (He was in error in saying reminiscent of Tommy; hopefully with the finesse that Herbie played the alto on DARDANELLA. It was the Tommy had, but my style, I think, is a lot more soprano.) Shortly before he committed suicide in emotional. I think the greatest thing you can offer the 1958, he recorded an LP with the Miami Beach public is the sound of the horn. It comes from within; Symphony. We found this LP after a six-month you manufacture it from your head, but it's an search, and would like to get in touch with Robert emotional thing. It has to be part of you. It's an Murphy. If you can ever feature Herbie Fields, we extension of your feeling ... that's why music is so would love it. important. We think the ghost would have been proud. We've put Mr. Ross in touch with Robert Murphy, and BBJ: You've done some overseas work. will be featuring Herbie Fields on a future BIG BAND BM: When I was in Hong Kong I did four television JUMP program, thanks to Mr. Ross's suggestion and shows, and those guys knew everything I wanted to information. (See UPCOMING BBJ PROGRAM play, including NIGHT TRAIN. The best foreign jazz TITLES.) musicians I ran into were the Filipinos. They play great! (He gave that line strong emphasis.) I mean it! Joseph Lewis I hear BIG BAND JUMP on Orlando, FL WLBE in Leesburg. How BBJ: Most men would have retired by now. Why do about playing TRUMPET you stay on the road? BLUES by Harry James? Keep up the good work.

BM: I like it. It’s a way of life, it’s creative, it gives TRUMPET BLUES has been featured on past pro­ me something where I'm needed, and where I can do grams, but we haven'tplayed it lately, and we respond the best job of anybody involved. to Mr. Lewis's request on the MAILBAG program, scheduled for the weekend o f April 4-5. Buddy Morrow was 73 on the 8th o f February this year, and still leads the Tommy Dorsey Orchestra. As Robert Peabody I am listening to WBBD in mentioned elsewhere, he 'll be on the fourth annual Glen Dale, WV Wheeling, and would like to BBJ CRUISE in November, and shows no sign of know if you have addresses stopping anytime soon. of stores, companies or individuals where you can get Next issue an interview with Woody Herman. copies of old records. When I was dating my wife around 1958, there was a record called PONYTAIL, LETTERS TO THE BBJ NEWSLETTER and I have been trying to locate it with no success. There just isn't enough room to publish the complete Several issues ago, before Mr. Peabody subscribed, text of the letters received, so letters are edited to we published an extensive list o f companies specializ­ retain the meaning. Your comments, information and ing in Big Band and similar hard-to-get recordings. In questions are welcome. Please address us at: order not to take up too much space in repetition for long-time subscribers, we repeat that list in small type BBJ NEWSLETTER elsewhere in this issue. In answer to many requests, Box 52252 we 're also listing recordings, videos and associated Atlanta, GA 30355 special Big Band items in the yellow order sheets attached to this Newsletter. Irwin Ross Your January-February issue Brooklyn, NY was terrific. The B.G. anec­ John M. Slattery Just received my newsletter dotes are priceless as was the Oxon Hill, MD and note that the list of up­ Helen Ward interview. Some writers have said she had coming BBJ shows is miss­ as much to do with Goodman's success as Benny ing. Was it forgotten or dropped? You listed records, himself. some with a store where they can be purchased, while

3 VOLUME XIX BIG BAND JUMP NEWSLETTER MARCH-APRIL, 1992 other records are listed with no store. Why not a page but booking agencies now don't wish to publicize their of paid advertising for good record stores that carry BB band's bookings for competitive reasons, often losing music? dates to other bands. We ask our long-time subscrib­ ers to forgive this repeated information, in an effort Answer to first question in INSIDE STUFF, this issue. to inform new subscribers. We list the source o f recordings which are produced by off-label private producers, for that's the only place they may be obtained. The others, on major labels, are BIG BAND TRIVIA QUIZ available at record stores, but as we've often said Many of the Big Band melodies we're familiar with before, you have to ask the clerk to look it up in his began with other titles. Column one lists the familiar cross-index o f records, and they may have to order it titles of tunes you know. Column two lists their for you, but a good record store will do that. We don't original titles. Match them all and you'll get your MG accept advertising, even though we tried it during our degree (Musicology Genius). Get eight correct and first year o f publication. It cheapens the Newsletter, the bandleaders will smile on you from on high. Five and doesn 't work because all companies don't want to or fewer will send you to a six-hour continuous cha- pay to advertise. cha dance class. COLUMN ONE Hank & Ruth Hanson When my husband 1. DO NOTHING 'TIL YOU HEAR FROM M E ______Colorado Springs, CO and I were dating in the 40's we liked a 2. BOO HOO______black piano player and singer named Nellie Lutcher. 3. MOONLIGHT SERENADE______Do you know what happened to her? Do you have any 4. WHAT'S NEW ______of her records? 5. SOMETIMES I'M HAPPY______

We don't know what happened to her, but maybe a 6. HOW DEEP IS THE OCEAN?______reader will let us know. We do have some o f her 7 .1 CAN'T GET STARTED______records and will play them on the MAILBA G edition o f BBJ the first weekend in April. 8. LAZY BONES______9. MOOD INDIGO______Richard Grudens Freddy Barstow of Cleveland, Stony Brook, NY OH asked about Larry El gart. 10. DON'T SIT UNDER THE APPLE TREE______He has a condominium on COLUMN TWO Longboat Key in Florida, runs four miles a day, walks A. NOW I LAY ME DOWN TO WEEP five miles on the beach and goes to the Nautilus gym. On weekends he plays tennis and is just taking up golf. B. FACE THE MUSIC WITH ME He wrote the theme for AMERICAN BANDSTAND C. CONCERTO FOR COOTIE in 1953. D. DREAMY BLUES

Richard Grudens is a regular contributor to the BBJ E. LET'S DRINK

NEWSLETTER. His interviews with top bandleaders F. ANYWHERE THE BLUEBIRD GOES are often a feature. Larry Elgart will be appearing on the fourth annual BIG BAND JUMP CRUISE on the G. I'M FREE S/S Norway. Please see INSIDE STUFF in this issue. H. TO MY MAMMY

J. COME ON AND PET ME H.P. Medler Do you still intend to publish Asheville, NC where and when some of the K. WASHBOARD BLUES big bands will be playing? Some were revisions of earlier works with the above second column titles, some of the familiar column one We used to regularly run schedules o f the Big Bands, titles had several former names. Answers on Page 6. 4 VOLUME XIX BIG BAND JUMP NEWSLETTER MARCH-APRIL, 1992

HANK MORGAN'S CORNER Every so often, Big Band enthusiast and researcher Hank Morgan conies up with random facts as a result of his copious reading and deep interest in music. These fascinating short takes are divided into four categories: MOVIE BIG BANDS, BANDLEADERS, SINGERS and COMPOSERS.

BIG BANDS IN THE MOVIES

Who dubbed the soundtrack in movies featuring Big Band stars?

JOE YUKL played trombone for Jimmy Stewart in the GLENN MILLER STORY.

HARRY JAMES performed trumpet sequences for Kirk Douglas in the Bix Biederbecke story told in YOUNG MAN WITH A HORN.

BENNY GOODMAN re-created his own clarinet solos for Steve Allen in THE BENNY GOODMAN Jimmie Lunceford in the thirties STORY. JIMMIE LUNCEFORD for a few brief years in the RED NICHOLS’ cornet and LOUIS ARMSTRONG'S 30's and 40's led one of the most exciting big bands trumpet were on the soundtrack for Danny Kaye in ever to appear "live" and on records, but Lunceford THE FIVE PENNIES. never played with his own orchestra even though he was proficient on saxophone, clarinet, trombone, DICK CATHCART was the cornet player for Jack guitar, banjo and flute. Webb in PETE KELLY'S BLUES. Lunceford kept his fine band as one of America's THE BANDLEADERS favorites until his death of a heart attack at age 45 in 1947. ******** W.C. Handy (declared to be the "Father of the Blues") had his first national hit with his band's recording of JOE "KING" OLIVER of cornet fame, was the leader MEMPHIS BLUES, but his greatest fame came from of one of the most famous early jazz bands, first in his earlier-written composition ST. LOUIS BLUES. New Orleans and later Chicago and New York. It was Ironically, the main thrust of this fame resulted from Oliver who first hired and nurtured (and later sup­ the popularity of a widely distributed recording by the pressed) Louis Armstrong during his career. Rudy Vallee Orchestra of THE MAINE STEIN SONG with Handy's ST. LOUIS BLUES on the In 1924 Oliver made a disastrous decision by turning reverse side. down the job of bandleader at New York's famous Cotton Club (a job that went to Duke Ellington) by Years later Glenn Miller's WWII era recording of optioning to take his band on a failed road tour. Handy's ST. LOUIS BLUES MARCH was consid­ ered unique, but Handy stated that his ST. LOUIS By 1936 Oliver was without his band, destitute in BLUES (which really wasn't a blues) had been based Savannah, GA selling vegetables on the street and on a military march much like the Miller arrangement. sweeping out a pool hall. It is said that Armstrong on 5 VOLUME XIX BIG BAND JUMP NEWSLETTER MARCH-APRIL, 1992 a Southern tour in 1937 played in Savannah where he musical and was issued as an independent number. Six attempted to assist his former idol and mentor to a years after the song grew popular in London and Paris, comeback, but his efforts failed. it became a great American favorite, sung first by Helen Morgan. Oliver died in Savannah in 1938 at age 53. He was ******** buried in New York City in an unmarked grave. IRA GERSHWIN wrote song lyrics for various com­ The Singers posers for four years (1921-1924) under the name ARTHUR FRANCIS to avoid trading off of the name ELLA FITZGERALD as an orphaned teen-ager was of his famous brother George. booked on an amateur show at the Apollo Theater in New York City. She was booked to do a dance act, but The ARTHUR of his nom de plume was the given due to extreme nervousness she decided at the last name of his younger brother. The FRANCIS was the minute to sing instead. given name of his younger sister.

She won the contest and was ultimately on her way to a career as one of the world's foremost Big Band and GOODNIGHT IRENE was written by LEADBELLY free-style jazz singers. (Huddie Ledbetter) while he was in Louisiana State ******** Prison. It was recorded there by folk activist John Lomax. The song became a YOUR HIT PARADE ALICE FAYE, vocalist with the Rudy Vallee Orches­ repetitive smash in 1950. tra, was called to Hollywood to sing OH, YOU NASTY GIRL! in the 1934 George White Scandals. In 1917 IRVING BERLIN wrote a song called SMILE She was immediately vaulted to long-time stardom in AND SHOW YOUR DIMPLE, but it didn't sell, so musical films. he placed it in his song "trunk." In 1933 he changed the title and the lyrics and it became his classical seasonal hit EASTER PARADE. It appeared in the One day Cincinnati bandleader BARNEY RAPP heard Broadway musical AS THOUSANDS CHEER. a girl singer auditioning at WLW's radio studios. He liked what he heard and saw. He asked her name. OVER THE RAINBOW, written by Harold Arlen and She replied, "Doris Kappelhoff." E.Y. Harburg, was an afterthought addition to the musical score of the 1903 Broadway production of He advised her that he thought she had great potential THE WONDERFUL WIZARD OF OZ, but it wasn't but that her last name seemed a bit inappropriate. The until the 1939 musical film THE WIZARD OF OZ song she sang at the audition was DAY BY DAY. that JUDY GARLAND'S rendition of the song cata­ pulted it to its revered status among popular songs. "That's it," said Rapp. "You will be Doris Day!" TR IVI A QUIZ A N S W E R S The Composers 1. C 6. H

THE MAN I LOVE, one of GEORGE & IRA 2. E 7. B GERSHWIN'S most endearing popular songs was 3. A 8. K turned down for inclusion in the Broadway show for which it was written, LADY BE GOOD in 1934. 4. G 9. D

The Gershwins later tried to place the song in other 5. J 10. F musicals but without success. It never did appear in a VOLUME XIX BIG BAND JUMP NEWSLETTER MARCH-APRIL, 1992

INSIDE STUFF the 80's, the HOOKED ON SWING medley of famous orchestra favorites, set to an infectious hand clapping BBJ PROGRAM TITLES beat.

Several letters from readers arrived just after the last Returning to the S/S Norway this year will be the most issue of the BBJ NEWSLETTER reached our readers, popular of the name road bands, the Tommy Dorsey asking why the UPCOMING BBJ PROGRAM TITLES Orchestra conducted by the world's finest living weren't included. It was because the BBJ offices and trombonist, Buddy Morrow, along with vocals by recording studios were moved during December when Walt Andrus. Erskine Hawkins will also be back, the January-February, 1992 issue was being prepared, with the arrangements and compositions that made and the production folks were working on a week-to- him a legendary Savoy Ballroom favorite for over week basis, using an outside studio. Those titles twenty years, plus vocalist Asa Harris. TIPPIN' IN, return this issue, but we're still opening boxes and TUXEDO JUNCTION and AFTER HOURS are his looking for vital information. most recognizable recordings.

ANNIVERSARY A special guest on board will be Ray McKinley, the man who reached fame as a drummer and singer with It was a shock to us to discover that this issue begins Jimmy Dorsey, introduced Big Band boogie with Will the fourth year of publication for the BBJ NEWSLET­ Bradley and had a remarkable band after the second TER. Back in January of 1989, Hagen Williams, the world war, followed by his leadership of the Glenn writer who helps with the BIG BAND JUMP pro­ Miller Orchestra for several years. He's a personable gram, came up with the idea of issuing a newsletter to man, and he'll enchant us just by being on the ship. answer listener's and reader's questions, give an insight into Big Band personalities through interviews For more information, phone Jan Rodgers toll-free at and background, and provide an information ex­ 1-800-723-3273. change. None of us had any idea then that so many of you would respond or that we'd be able to sustain the SIDELIGHTS______newsletter. Now, thanks to you, it's become a part of the Big Band and traditional American music scene, AIN'T MISBEHAVIN' A white drummer with a small but vitally interested readership. We're named Roger Post was called to sit in for the regular most appreciative of your support and your interest. drummer during the run of AIN'T MISBEHAVIN', the Broadway show saluting the work of Fats Waller. FOURTH ANNUAL BIG BAND JUMP CRUISE Nell Carter, the star of the show, was the one who Roger had to please. He was told to watch out for her. Just a few weeks before this issue went to the printers, we fastened down the Big Bands appearing on the When Roger was introduced to the cast, Nell Carter annual S/S Norway Cruise, set to sail from Miami on lived up to her reputation. She stared at him with a November 28th this year. Featured will be two bands suspicious eye and told him, "If you don't have a good never before heard on our cruise, the Warren Covington time, I'm gonna whup your ass!" Orchestra of TEA FOR TWO CHA-CHA fame and the "HOOKED ON SWING" orchestra of Larry Roger began his duties playing the matinee, full of Elgart. (See LETTERS section for more on him.) nervousness and trepidation, but got through it with­ out any comments. After the second show, during Warren Covington led the Tommy Dorsey band for which he relaxed a bit, Nell Carter stopped by to see nine years, and it was during that time in the mid- him and with a questioning look said, "You got some fifties when he nearly single-handedly brought the black people in your family, don't you?" cha-cha dance craze to a peak. Similarly, Larry Elgart recorded one of the most spectacular Big Band hits of (SIDELIGHTS continued next page) 7 VOLUME XIX BIG BAND JUMP NEWSLETTER MARCH-APRIL, 1992

SIDELIGHTS continued all in different sizes. They cost $50.00 each back then, so you can see it was a most expensive purchase for JOE VENUTI As pointed out on these pages that time. Each day, Joe Venuti would substitute a before, Joe Venuti was an inveterate practical joker. larger size until the hat was resting on Paul Wh iteman' s We've told about his booking 50 (or was it 100?) bass ears, then he'd go back day-to-day to the smallest size, players, told to meet at Sunset and Vine at a certain until the hat was perched on top of Whiteman's head. tim e... just to watch that gathering occur. Now there's Finally, the hat magically returned to the correct size. a new story, brought to light in Bill Crow's column in the New York Musicians' Union paper. The problem with the joke was that it had no punch line. Whiteman never, ever mentioned a word He tells of Venuti's time with Paul Whiteman, about it, thereby costing Joe Venuti $300.00 for a when the band was appearing at the Paramount in practical joke with no results. The equivalent would the 30's. Whiteman wore an expensive white Barcelona be thousands today. hat at that time, imported from Italy. He'd leave the hat on a shelf in his dressing room during the stage BUDDY RICH Because drummer Buddy performance. Rich was so volatile, stories about him abound. There was the time piano man Ralph Martin was playing Venuti sent to Italy and ordered six identical hats, but (continued next page)

Young Les Brown with the Band of Renown, with a younger Doris Day, about 1939 or 1940. (Courtesy Ed Burke of JAZZ HOUR recordings.) 8 VOLUME XIX BIG BAND JUMP NEWSLETTER MARCH-APRIL, 1992

with Buddy, and Buddy's daughter was in the audi­ BAND JUMP office, filling the in-box until enough ence. She was holding her hands over her ears, and interesting material is assembled to create a program. asked her daddy not to play so loud. Some rare Basie cuts, a few Fats Waller gems and a Harry James or two combine with Axel Stordahl, Stan Buddy Rich called over to Ralph and said, "Play like Kenton and even Les Paul to make up an eclectic mix. Basie." Ralph Martin answered, "I'll play like Basie when you start playing like Jo Jones!" MAR 21-22 STANDARDS Rich gave Martin his two weeks notice on the spot, and In our efforts to present new material, we sometimes they didn't speak to each other again. ******** neglect the favorites of the Big Bands. That's cor­ Drummer Max Roach, admired by Buddy Rich, got rected in this program with such standards as Basie's good write-ups back when he played with Charlie APRIL IN PARIS, Ellington's SATIN DOLL, Harry Parker. Some critics even wrote that he was the James’ THE MOLE and TRUMPET BLUES, Les world's greatest drummer. Brown's MEXICAN HAT DANCE and SOPHISTI­ CATED SWING, the Miller classics and some Good­ A few weeks after the "greatest drummer" comment man and Herman. Enduring melodies. was published, Max Roach was strolling up Broadway when Buddy Rich zoomed around the corner driving MAR 28-29 HERBIE FIELDS a sporty convertible, a gorgeous woman sitting beside him. He spotted Max on the sidewalk and yelled at In response to a listener's suggestion, the memorable him, "Hey Max! Top******** this!" sax work of Herbie Fields is featured, along with some background and historical comment on his life and Our thanks to Bill Crow and his column in the musicians' musical contributions. Later, we riffle through the union paper and his book, JAZZ ANECDOTES, published by Oxford Press, for many of the stories used. records, digging out the unusual melodies by artists both well-known and lesser-known. UPCOMING BBJ PROGRAM TITLES APRIL 4-5 THE MAILBAG FEB 29 - MAR 1 SMALL GROUPS The letters keep coming in with ideas for instrumentals Either within the Big Bands or as separate entities, the and vocals we haven't had on the program, or those small groups were an interesting part of the Era. We'll which listeners want to hear again. We read those hear King Cole, the Benny Goodman Sextet, Bauduc letters and search out the recordings mentioned, while & Haggart of the Bob Crosby Band, the Shaw remaining faithful to the artists identified with the Era. Grammercy Five and Jonah Jones among others. After that, some of the leftovers not included in previous APRIL 11-12 OVERSEAS BROADCASTS programs. BIG BAND JUMP is heard on the Swiss National MAR 7-8 1930-36 BIG BANDS Radio Network, a government operated facility reach­ ing over 342,000 homes in that country. As a result, The early thirties were formative years for bands in the a broadcaster in a tiny Swiss village who was on the nation, before there was a so-called Big Band Era. last Big Band Jump Cruise based a program on the Featured will be the orchestras of early Benny Good­ bands and their leaders, with comments by them as man, the Casa-Lomans, Chick Webb, Louis Armstrong, well as interview segments with singer Fran Warren Duke Ellington, Fletcher Henderson and others who and host Don Kennedy. It's fascinating to hear how forged the sound we now know so well. traditional American music is perceived outside the United States, and we'll feature segments of a broad­ MAR 14-15 THE IN-BOX cast by music announcer Max Wirz. After that, a memorable couple of segments of record programs by Records, CD's and tapes keep coming into the BIG American announcers from a bygone radio era. 9 VOLUME XIX BIG BAND JUMP NEWSLETTER MARCH-APRIL, 1992

APRIL 18-19 RIFFLIN' THROUGH Radio transcription cuts of the great big bands. Ask for a catalog. TRANSCRIPTIONS COLUMBIA SPECIAL PRODUCTS The Collectors' Series There are thousands of clunky old 16-inch transcrip­ 51 West 52nd Street, Room 861 New York, NY 10019 tions made originally for exclusive radio station use. From the BBJ library of these old discs comes some Ask for a catalog. Ididand never received one, but things maybe better now that Sony owns Columbia. Some fine old big band music began sound that'll key off memories of "real radio" for coming out on CD in 1990 on their Best of the Big Bands series. You those who lived in the days when radio was the sole may have better luck through Daybreak Express Records, Box 150250, means of keeping in instant touch with the world. Not Brooklyn, NY 11215-0005

"live" recorded programs, but recordings in a form CREATIVE WORLD not able to be played by modern means, using turn­ 8400 Sunset Boulevard tables and tone arms from the past. A trip back in time. Hollywood, CA 90069 Heavy emphasis on Stan Kenton, and some Billy May. APRIL 25-26 HELEN WARD FOOTLIGHT RECORDS

We talked with Helen Ward on tape, resulting in the Listen for commercials on big band radio stations. Phone calls are printed interview in the last issue. Now we hear Helen stressed: (212) 533-1572. The address is 113 East 12th Street, New York, herself, along with her latest LP and some of the NY 10003. earlier recordings which set the standard for Band HINDSIGHT RECORDS Singers. She's heard with Goodman, Krupa, James 1299 Ocean Avenue, Suite 800 and then with a smaller group assembled for her last Santa Monica, CA 90401 recording before retirement. Large collection of aircheck recordings on LP, cassette, and CD. Ask for a catalog. Hindsight is now part ofThe WelkRecord Group. Quite a few libraries have Hindsight issues, as do some of the other record sellers listed BIG BAND RECORD SOURCES here.

So many new readers and listeners have written to ask us how to JAZZ HOUR get Big Band Records, we're re-publishing a partial list, at the risk Box 841408 of boring long-time BBJ NEWSLETTER subscribers. We're Pembroke Pines, FL 33084 making it small, though, so as not to take up too much room. It Ask for catalog. Lots of airchecks and in-person CD's. takes the place of record and book suggestions this issue. NOSTALGIA As always, we suggest that it does take some effort to collect Big P.O. Box 82 Band recordings, either through asking the record store clerk to Redmond, Washington 98073-0082 look up releases and order them for you, or sending to multiple Unusual collection of aircheck material ofhigh quality. Ask for a list. One sources for catalogs. BBJ NEWSLETTER doesn't represent any of the best Hal Kemp albums in may collection came from Nostalgia. record dealer or producer, but we do try to help you find records, because we are in touch with quite a few sources in the industry. SERENDIPITY RECORDS With a little effort and involvement, using the following source list, 4775 Durham Road you can find a lot of Big Band material. Guilford, CT 06437

Catalog costs $2.00 but includes many rare items. The source list which follows is repeated, with some additions, from an article by Richard Trenbeth published in the March-April, TIME-LIFE MUSIC 1991 issue of the BBJ NEWSLETTER. 1450 East Parham Road Richmond, VA 23280 RAY ANTHONY (also known as Big Bands 80's) 9288 Kinglet Drive One of the pioneers in re-mastering big band and vocal albums of high Los Angeles, CA 90069 quality. Ask for a catalog. 1-800-845-2263

As you might suspect, this collection is heavy on Ray Anthony records and CDs, but they have many othcrthingsworth considering, including the Records and other products advertised or marketed by THE best book ever on the dance band era, so just ask for a catalog. BIG BAND JUMP radio program are available through the program's advertising and marketing department. A list of CIRCLE RECORDS 1206 Decatur Street Big Band related items and ordering information is en­ New Orleans, LA 70116 closed on the yellow sheets. 10 AVAILABLE ORDERING PRODUCTS INFORMATION ON PAGE FOUR

(A) JOHNNY DESMOND Memories of WWII

Ten cuts of 14 songs as originally recorded from broadcasts featuring Johnny Memories Desmond and the Army Air Force Band. Some were recorded overseas and some taken from SUSTAIN THE WINGS stateside broadcasts. Includes: MY HEART of WWIIVimtme I! F e a tu rin g The Armv Air TELLS ME - SPEAK LOW - LONG AGO AND FAR AWAY - MY IDEAL - Force Uaná A LOVELY WAY TO SPEND AN EVENING - VICTORY POLKA - SUD­ DENLY IT'S SPRING - PEOPLE WILL SAY WE'RE IN LOVE - I'LL BE AROUND - WHAT DO THEY DO IN THE INFANTRY? - 1' LL NEVER SMILE AGAIN/TANGERINE/AT LAST/CEST SI BON (Medley). Archival material brought to life as if the broadcasts were simply delayed a half century. ($16.95 including shipping and handling.) Original Recordings

(B) RAY ANTHONY - VIDEO Story of the Big Band Era

A black and white video featuring the Ray Anthony All-Star band and guests Les Brown, Charlie Barnet, Jerry Gray, Herb Jeffries, Ann Richards and Vikki Carr recreating the seminal hits of the Big Bands. Includes: NO NAME JIVE - AND THE ANGELS SING - BEGIN THE BEGUINE - CHEROKEE/POMPTON TURNPIKE/SKYLINER (Medley) - HARLEM NOCTURNE - FLAMINGO - TAKE THE A TRAIN - FLYING HOME - WOODCHOPPER'S BALL - STRING OF PEARLS - ARTISTRY IN RHYTHM - THE LADY IS A TRAMP - LEAP FROG/SENTIMENTAL JOURNEY/I'VE GOT MY LOVE TO KEEP ME WARM (Medley) - ONE O'CLOCK JUM P - and a medley of various sounds of other significant bands over the years. Fifty minutes. ($28.00 including shipping and handling.)

(C) WONDERFUL ERA OF THE GREAT DANCE BANDS Book by Leo Walker

A compilation of the history of the Big Bands by noted Band historian Leo Walker, including over 400 photos of bands and bandleaders. An invaluable reference or for casual reading. Facts and background not available anywhere else. Paper back 8 1/2x11 book, 316 pages. ($22.00 including shipping and handling.)

ORDERING INFORMATION AND ADDITIONAL PRODUCT DESCRIPTIONS ON FOLLOWING PAGES AVAILABLE PRODUCTS (CONTINUED)

(D) BIG BAND JUMP T-SHIRT

Hanes quality blue-green T-shirt with raised screen printing in off-yellow reading BIG BAND JUMP in stylized fashion with musical notes and pictorial design. The same style T-shirt supplied to Cruise members on the S/S Norway. Available in M - L and XL. ($16.00 including shipping and handling.)

(E) BIG BANDS OF THE WAR YEARS Cassette

Narrated by Big Band Jump host Don Kennedy in the manner of a BIG BAND JUMP program, with some ^IG BANDS of the of the memories, voices and musical; sounds of the W ar Years. Not a compilation GWAR YEARS-I of the often-heard melodies, but a sound record of the spirit of the time with a young Dick Haymes singing with Harry James, Charlie Barnet swinging again and Doris Day with Les Brown among others. Includes: DAY BY DAY - I'VE GOT MY LOVE TO KEEP ME WARM - FRIM FRAM SAUCE - SNOWFALL -GOLDEN WEDDING - STARDREAMS - HE WEARS A PAIR OF SILVER WINGS - AT LAST - ALL OR NOTHING AT ALL -TWO O’CLOCK JUMP - CHERRY - SOMETHING SENTIMENTAL - REDSKIN RHUMBA - PHYLISSE - ALL I DESIRE - AIN’T GOT NOTHIN' BUT THE BLUES and others. Features Les Brown, Harry James, Charlie Spivak, Vaughn Monroe, Charlie Barnet, Tony Narrated by Don Kennedy, host of the nationally syndicated Pastor, Duke Ellington and Claude Thornhill along with the voices of newsmakers radio program, BIG BAND JUMP of the War Years. Rare original recordings from radio transcriptions. ($11.95 including shipping and handling.)

(F) GLENN MILLER Sunset Serenade November 11, 1941

The civilian Glenn Miller Orchestra with Tex, Marion, Ray and the gang in one of the SUNSET SERENADE broadcasts, captured with remarkable technical quality, and all the emotional content of the day. Sixteen selections plus the themes, including TUXEDO JUNCTION, CHATTANOOGA CHOO-CHOO, I KNOW WHY, IT HAPPENED IN SUN VALLEY, EVERYTHING I LOVE, V-HOP (written by Ray Coniff), IN A SENTIMENTAL MOOD, I GUESS I'LL HAVE TO DREAM THE REST, I DON’T WANT TO SET THE WORLD ON FIRE, DREAMSVILLE, OHIO and others. Includes Glenn Miller talking about wartime entertainment efforts, and announcements just as they were heard on-the-air in 1941. A superb remembrance in sound. CD only. (15.95 including shipping and handling.)

ADDITIONAL PRODUCT DESCRIPTIONS ON OTHER SIDE AND ON NEXT PAGE

- 2 - AVAILABLE PRODUCTS (CONTINUED)

(G) TOMMY DORSEY 1942 War Bond Show

TOMMY DORSEY AND HIS ORCHESTRA j 194£ WAR BOND BROADCAST Vocais By: TRANK SINATRA / DICK HAYMES Dick Haymes never recorded commercially during his short time with Tommy / JO STAFFORD / PIED PIPERS Dorsey, but you'll hear him sing on this memorable 1942 aircheck of a War Bond Broadcast, featuring not on;y Dick Haymes, but Frank Sinatra, Jo Stafford, pMturiftg trumpeter Ziggy Elman and drummer Buddy Rich, plus the Pied Pipers. This was one of the best of the Tommy Dorsey bands. Hear JUST AS THOUGH YOU WERE HERE, WHO, BLUES IN THE NIGHT, SOMEBODY LOVES ME, SWING HIGH, I'VE FOUND A NEW BABY, IT STARTED ALL OVER AGAIN, EXACTLY LIKE YOU and others. A total of twenty selections on sixteen cuts covering shows broadcast from both Chicago and Hollywood. Another suspension in time. CD only. ($15.95 including shipping and handling.)

(H) GOODMAN & MILLER AT CARNEGIE HALL October 6, 1939

This isn't the Goodman Carnegie Hall concert, but an appearance nearly two years later, sponsored by the American Society of Composers, Authors and Publishers. Ten cuts by Goodman including the theme and introduction, DON'T BE THAT WAY, SUNRISE SERENADE, T'AINT WHAT YOU DO (a bur­ lesque of several band styles by B.G. with tongue-in-cheek), BACH GOES TO TOWN, ONE O’CLOCK JUMP, FLYING HOME, STARDUST, SING, SING, SING, AND SHEIK OF ARABY.

The Glenn Miller Orchestra follows with thirteen cuts, including RUNNING WILD, LITTLE BROWN JUG, STAIRWAY TO THE STARS, LONDONDERRY AIR, JUMPIN' JIVE, HOLD TIGHT, BUGLE CALL RAG and others.

Seventy-seven minutes by two great orchestras at the peak of their performance powers. Charlie Christian is featured on some of the Goodman selections, plus Lionel Hampton, Fletcher Henderson and Ziggy Elman. Glenn Miller's Orchestra includes such name performers as Marion Hutton, Ray Eberle, Clyde Hurley and A1 Klink. CD only. ($17.95 including shipping and handling.)

(J) BIG BAND JUMP NEWSLETTER

Six Newsletters annually, one every other month, featuring interviews with key music personalities, sidelights and background of the Big Band Era, record and book suggestions, letters to the editor with questions, answers and information, pictures of some of the people written about, Big Band Trivia quizzes and anecdotes. Ten pages of memories, information, nostalgia and background each month. Filled with Big Band lore and levity. ($19.95 for a year's subscription - six issues.) (ORDER FORM ON OTHER SIDE) -3 - ORDER FORM

Please send the following: (Check selections, please)

(A) JOHNNY DESMOND ($16.95) ( ) (Specify CD or Cassette)

(B) RAY A N TH O N Y VIDEO ($ 2 8 .0 0 ) ( )

(C) WONDERFUL ERA OF THE GREAT DANCE BANDS - BOOK ($22.00) ( )

(D) BIG BAND JUMP T-SHIRT ($16.00) ( ) M( ) L( ) XL( ) (Please check size) (E) BIG BANDS OF THE W A R YEARS ( ) ($11.95) Cassette only

(F) GLENN MILLER SUNSET SERENADE ( ) (CD Only - $15.95)

(G) TOMMY DORSEY WAR BOND SHOWS ( ) (CD Only - $15.95)

(H) GOODMAN & MILLER AT ( ) CARNEGIE HALL (CD Only - $17.95)

(J) BIG BAND JUMP NEWSLETTER ( ) (Six issues per year - $19.95)

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Make check payable to NEWSLETTER

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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.)

COMING UP IN FUTURE ISSUES OF THE BIG BAND JUMP NEWSLETTER

In-person interviews with such outstanding Big Band music personalities as Woody Herman and Benny Goodman, among others.

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. (N3dO O l 9V1 in s 3SV31d)

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If you'd like to renew your subscription to the BBJ NEWSLETTER (and we certainly hope you do) there's a subscription and renewal form on the back of this cover sheet.

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