IN THIS ISSUE:

i f An interview with

Reviews of BOOKS AND BIG RECORDS to consider BAND ★ A NEW GENERAL KNOWLEDGE ERA TRIVIA QUIZ JUMP ★ LETTERS TO THE EDITOR about NEWSLETTER ’S secret recordings, , HAL MclNTYRE, GLORIA VAN, FREDDY MARTIN, INTERNET LISTENING, and others

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

VOLUME 91 - NOW IN OUR 16TH YEAR BIG BAND JUMP NEWSLETTER MARCH-APRIL 2004

TOMMY DORSEY INTERVIEW- Part One, The Early Days

The Background

There’s never been a Tommy Dorsey interview in this newsletter, not because there’s no interest in Tommy Dorsey, for he certainly led one of the top four bands of the Big Band Era, but because such an interview was never available. BBJ host Don Kennedy interviewed Tommy Dorsey in 1949, but the tape of that conversa­ tion has been lost forever. To the rescue comes author Peter Levinson, who is writing a book about Tommy Dorsey, scheduled to be published in November of 2005 in conjunction with the 100th anniversary of Dorsey’s birth.

In his extensive research, Peter Levinson turned up a delightful 1954 Canadian interview conducted by a now unknown announcer, found on one of several cassettes containing various Dorsey radio appearances and early recordings. The content of that interview has been transcribed to form the following, with questions shortened but Dorsey ’ s comments precisely as written, except where passing reference is made to an immedi­ Dorsey in the '40s ate record playback as part of the program. into two parts with the later Tommy Dorsey years to be The Scene presented in the next issue. Nearly every interviewer begins with the “how” and/or “why” of the subject’s Judging from the occasional traffic noise in the back­ interest in music. Our Canadian announcer friend was ground, the announcer conducting the interview had no exception. taken a tape recorder either to Tommy Dorsey’s hotel room or to his appearance location, also taking with The Interview him a list of recordings which were to be inserted at appropriate points when the tape was played back. BBJ: Everyone always wants to know how it all There was no effort on the announcer’s part to just hit started. the highlights; he was determined to hear a story about every significant event from the ’20s on. For that TD: My father was a music teacher and the day we reason, the Dorsey comments yielded a reasonably were born was actually when we got in the detailed story, but by the end of the interview it was music business because we had no choice. It was play evident that Dorsey wanted to wrap it up. or else!

Because of the length of the interview, we’ve split it BB J: You played trumpet at one time. VOLUME 91 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2004

TD: That’s correct. My first instrument was the trumpet; a very bad job on that. My father kept putting me on different instruments so I finally wound up with a trombone against my wishes. I’m very happy he won out.

BBJ: How did the recording career get started?

TD: Well, we actually got started doing some things seriously..,.I say seriously because prior to 1934....we had been messing around doing some re­ cording with Okeh Records. Nobody ever bought ‘em, we’d sell maybe four or five hundred o f‘em, but we got going seriously in 1934 when we formed Band.

BBJ: Some of those pre-Dorsey Brothers records in the late ’20s had on them.

TD: We were all refugees from the Whiteman band along about that time. Bing was still with Whiteman then and my brother and I had left. I just told the fellow who was in charge of Okeh Records at the Bix Beiderbecke & Tommy Dorsey (with glasses) in 1924 time that I had an idea we wanted to make some records, and he said, “Come on down.” We got a kick back. One of the men who had faith in the record out of it and waited six months to a year to get paid. If business and kept going all the way through was the you got paid it was alright, and if you didn’t it was late JackKapp. He’s one of the men we should thank alright, too. to this day for the resurrection of the record industry. We made records with Ruth Etting, the Boswell BBJ: Sounds like slim times in the ’20s. Sisters, the Mills Brothers, with Bing and every­ body, and when I say we had to wait six and eight TD: From that department it was. Fortunately we months for our money, we had to because they had to were able to sell some other people a bill of wait until they got the record out and sold some of goods... .hiring us at night in the various theaters. At the them before they could pay us. time we made a lot of those records my brother and I were working the the Capitol Theater. They used to BBJ: How did you find I’M GETTING SENTIMEN­ have a big orchestra in the pit and then a stage band, sort of a dance band to go up on the stage and play the TAL OVER YOU, the tune you came to use as your theme? presentations. We used to go down in the morning, and if we couldn’t go down in the morning we'd go after the last show in the theater and make a lot of those records. TD: Found it in 1932 at a company called Lawrence Music Company. I went over there to get some BBJ: Some people said the record business was tunes for a record session, and a boy named George doomed about then. Bassman was playing piano and as we kept going through the catalog he kept going back to this thing, sort TD: You’re right, because after the stock market of a reprise all the way through and it later developed crash in ’29 the radio came on real strong, that more or that he was the writer of the song. I took a liking to it. less murdered the sale of records. There were only a We had a girl named Jean Faye, I think, who made the few people who believed that records would come original record of the song.

2 VOLUME 91 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2004

BBJ: Many of the musicians you The Life o f Tommy Dorsey " writ­ was played with in those days became earning $200 ten by Peter Levinson who pro­ famous. a w ee twelve vided the original tape of this hours a week. interview.lt will be Mr. Levinson’s TD: Well we had quite a gang. third book in his “Portraits of We used to hang out at a place Swing’’ series following publication of the Harry called The Trombone Club. It was listed in the tele­ James ' bio “Trumpet Blues ’’ and a phone book as The Trombone Club but it really was a bio titled “September in the Rain. ” speakeasy. They had a bulletin board and we’d go in and get all our messages; Rubinoff or somebody would be looking for us, they’d call The Trombone Club and (LETTERS TO THE EDITOR) leave a message there. Half of the people we worked for didn’t know it was a speakeasy. I don’t think they’d Letters to BIG BAND JUMP or the BBJ NEWS­ have hired us if they discovered where we used to hang out. LETTER may be sent to the address below, or e-mailed to: [email protected]. When you BBJ: There was a lot of radio work for musicians in e-mail, please give your name and address. All those earlier days. letters are answered, but the volume of mail some­ times delays a timely response. TD: Yes. The first thing we did was with Freddy Rich when Columbia Broadcasting first opened its studios at 52nd Street and Madison Avenue; my BBJ NEWSLETTER brother and I were in the house band over there. I think Box 52252 I was earning $200.00 a week for twelve hours a week. Atlanta, GA 30355 We’d never go in before five in the afternoon no matter what the schedule said, because we had recording dates The published letters have been edited for space to do all day long. considerations, but the meaning has been preserved.

As evidenced in the interview, Tommy Dorsey Ben Pucci Bandleader Hal McIntyre had had a remarkable memory, indicated by the fol­ San Antonio, TX a drummer named Ralph and lowing story dating back to an event from the a lovely and very good singer early days. It seems one music publisher during named Gloria Van. Is Gloria Van still with us? I’ve the heyday of the Tommy Dorsey Orchestra always wondered what happened to those I met as a couldn ’t figure out why Tommy wouldn'tplay his young man working at Tune Town in St. Louis and music on radio broadcasts. The publisher showed Palladium in Hollywood. up regularly, had good melodies and key com­ posers but never could get Tommy to play any of his material. It turned out he had charged Tommy Dorsey seventy-five cents for some sheet music during the Dorsey Brother’s Orchestra days years earlier, rather than give him the music. Tommy never forgot. The second part ofthis rare and concentrated infor­ mational Tommy Dorsey interview will be in the next BBJ NEWSLETTER with his reflections on the split with brother Jimmy, the early hits and the Sinatra days among other subjects. In conjunction with Tommy Dorsey’s 100th birth­ Gloria Van died in 2002 at age 82. She worked day on November 19th o f2005, DeCapo Press will not only with Hal McIntyre but with Gene Krupa be publishing “Livin ’ in a Great Big Way: and was later a regular on early television’s

3 VOLUME 91 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2004

“Wayne King Show” plus appearances over the years with the Art Van Damme Quintet, on NBC- TV’s “Tonight Show" and on dozens of Don McNeil’s “Breakfast Club” programs. Her pic­ ture is on page three. Ralph Tilken was the drummer, who was active in small groups fo r years after the Big Band Era. Reader Ed Galli asked about Kay Kyser in the last newsletter issue,bringing the response below. Gene Lasinski Suggest Ed Galli try to locate the Southport, NC book “Ish Kabibble.” It’s the autobiography of Merwyn Bogue published by Louisiana State University Press in 1989. He was a comet player, band manager and comedian for Kay Kyser from 1931 to 1951. The stories that Bogue tells of his years with the band are wonderfully enter­ taining. Glenn & Use in 1944 Michael Boyer I did not realize that you could Lancaster, OH still get what I call good music on Bands during those days, as now, and the War the radio. I liked the movie “The Department took advantage of that fan base by Glenn Miller Story” but could never find out why there transmitting the Miller Military Band complete with was never any reference to Tex Beneke in the movie. lyrics in German sung by , and a Could you please let me know why his name was German hostess named Ilse Weinberger who pro­ omitted from the story. moted the American cause. There’s a picture up there of Miller and Weinberger working on an October, 1944 Glenn Miller’s wife Helen honored Glenn’spost­ broadcast from London beamed to German listeners. war plans to help Tex Beneke have a band o f his own. Because Glenn had died, his wife bestowed Tim Bate We’ve the honor of directing the official Miller Band on Salt Lake City, UT been Tex, and even though it did well for a few years, playing the management and Beneke differed in their the Freddy Martin arrange­ views of the direction of the music. That first ment of TONIGHT WE LOVE. post-war Miller Estate official band was dis­ I would like to know when the solved and Beneke went on to lead his own Miller­ band broke up and if he is still style orchestra with no connection to the Miller alive? Can you help? family. That disconnect was reflected in the We don’t know when the script o f “. ” Freddy Martin band broke Norman Thomas Could you explain the Secret up, but we did learn that he Defiance, OH Broadcasts? Saw some re­ died at age 76 on September cordings on CD that looked 30, 1983 in Newport Beach, like they were during WWII. I listen to your program on California. In the 50s and 60s Martin contin­ WNOW in Defiance, Ohio every week. ued to perform on radio and on some television shows, unaffected by changing musical styles. We presume you ’re referring to the Glenn Miller He continued to work at major locations and was secret recordings, made at the BBC studios during even musical director for ’s first WWII for short-wave broadcast to Germany. Many appearance in Las Vegas. He worked into the on the German civilians were fans o f American Big '80s until shortly before his death. 4 VOLUME 91 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2004

JohnBullach Couple of comments/questions: I younger generations appreciating the quality of Arlington, VA really think the band such music. was one of the best; always swing­ ing. As a further comment, I did feel that his endings Frances Omohundro I am, to quote you, “certainly were some of the oddest I’ve heard. No matter, he still Nashville, TN out there listening.” I listen to ranks at the top along with Ted Heath, and you on Nashville’s WAMB. Stan Kenton, except for his latter too jazzy years. You have so many varied programs I thought my suggestion might be an option. All girl’s names that are I have been trying to find CDs and note songs. that with all the things he recorded there are very few CDs available. What’s the story on that? The girl's name idea is the one most often sug­ gested over the years. We’ll have to do it again The headings for the BMG catalog stress the one of these days. categories: Rock, Hip-hop, Country, Classical, Latin, Christian and Jazz, indicating where the company’s interests are. We found a total of FIRST ISSUE OF 16TH YEAR seven Mancini albums available; six plus one Christmas album. We suspect the record stores This is the first issue of the sixteenth year of publication either don 't order them or don ’t put them in a of the BBJ NEWSLETTER, which began publication prominent place, but they ’ll get them for you if with the March-April issue in 1989. The BIG BAND you insist they look on their computer which lists JUMP radio program had only been in national syndi­ all the albums available, plus the tracks on each. cation three years then, and announcements were put on the program promoting that first issue. It was a type­ Dan Conti Miss the internet feed of BBJ and the written Xeroxed affair containing an interview with Ridgefield, NJ DK SHOW. Have you considered Count Basie, a quiz about Big Band theme melodies, a XM Radio to get your shows on one of commentary on the then current bands and a listing of their many channels catering to this type of music? If new records to consider, plus some humorous musician you need me to start a campaign to do so, let me know. stories. There have been con­ By the time this newsletter is published, both BBJ siderable changes and the DK SHOW should be back on the internet. since then. In early Simply go to www. bigbandjump. com and click on issues the newslet­ the top center box that says “On Line Listening. ” ter noted where the So far as XM Radio is concerned, we were in “ghost” bands were touch with them early in the game before they scheduled to play, an began their service, but struck out. exercise that finally had to be stopped be­ Susan Wisner I am going to be getting married and cause of the space re­ San Jose, CA my theme is going to be vintage wed­ quired. CDs were not dings. Instead of the traditional wed­ in general use in 1989 ding march I would like to play some soft big bnad with cassettes and music when I walk down the aisle. I found a song LPs still dominant. played instrumental only by Tommy Dorsey, I’M IN There was a separate THE MOOD FOR LOVE which I think is a good fit, Count Basie was first issue interview photo page with pic­ but I want to look at some other choices before I decide. tures of bandleaders Dean Hudson, Red Nichols and as well as a then current photo of This is the second or third such request from a clarinetist Buddy DeFranco. bride-to-be, we hope indicative of a trend toward

5 VOLUME 91 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2004

An introductory cover letter from BIG BAND JUMP today’s style and advanced recording techniques. With radio host Don Kennedy accompanied that first this in mind, you should enjoy this recording. newsletter expressing sentiments still valid today: “It’s been a learning experience and the research Single CD -14 Tracks - 42+ total playing time necessary for the production of BIG BAND JUMP Available directly from Alanna Records at: 1-800­ 228-5558 has been not only informative for me personally, D.K. but fun. Thank you very, very much for listening and for subscribing to our BB J NEWSLETTER. As we say on the air, ‘It’s nice to know you’re out there!”’ The Complete Rhythm Makers Sessions Jazz Band Classic TMCD-219091-2

RECORDS TO CONSIDER Some recordings are less important for what they are than where they led. This album is such a collection, for THE MICHAEL ROSE BAND it contains early Artie Shaw in the first two sessions his Rose Colored Classics band performed for the National Broadcasting Alanna ACD-5603 Company’s Thesaurus transcription service, perform­ ing as “The Rhythm Makers.” It is not the music the There are hundreds of regional Big Bands out there, all nation would hear nearly two years later; the session performing at different levels of excellence, some was, however, only sixteen months before Shaw’s BE­ with fresh arrangements, others using the time-hon­ GIN THE BEGUINE made the band financially viable. ored sounds we’ve heard by the original performers on classic recordings. Michael Rose, a trumpet player in It would seem the last thing on the minds of the NBC West Palm Beach, Florida, combines the fresh sound transcription bosses was innovation with the result that with an echo of the original to their product was somewhat bland, create a pleasingly familiar col­ hoping to reach as broad an audience lection. as possible by not stretching the Fourteen selections, some with listener’s musical imagination or in­ vocals by Sandra Rose or Chuck troducing any new concepts. The Percherke, include such standards product reflected the tunes being pro­ as I HAD THE CRAZIEST moted then by the music publishers DREAM, CHEEK TO CHEEK, who constituted the most powerful PERFIDIA, UNFORGET­ force in the music business at the time, TABLE, CALL ME IRRESPON­ as indicated by the very fact that the SIBLE, TANGERINE, SLEEPY artist’s name was secondary to the LAGOON and I CAN’T GET group title, “Rhythm Makers.” As a STARTED. In the tradition of result of this attitude, the Shaw band Alanna Records, the sound is su­ that recorded the contents of this al­ perb. bum, 20 melodies on March 4th, 1937 and 25 on April 29,1937, was consid­ We should reiterate that though ered little more than a commodity. bands such as this are not seeking to replace the original perfor­ This is, however, a musical document mances so well-worn into our cra- displaying the development of the niums, but give us both new ar­ Shaw orchestra and spotlighting its rangements of great American players, some of whom would be­ melodies and arrangements come stars on their own not only within reminiscent of the originals in the Shaw ranks but with other bands as well as some as band leaders. Buddy

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(Tape or Staple Here) CENTER PAGE OFFER - LIMITED QUANTITIES OF TOP CDs There are some wonderful, entertaining, classic CDs filled with top tunes that are lying fallow in the back room. They’re limited in quantities, so it might be a good idea to phone right away if any of them seem interesting to you. (One reader phoned six months after a similar limited quantity offer had been published and seemed amazed that his selection was gone. We would suggest you phoning right away if you see something you might like.)

EACH OF THE FOLLOWING SINGLE CD SETS IS PRICED AT JUST $12.00 WITH FREE SHIPPING AND HANDLING. LIMITED QUANTITIES SO PLEASE PHONE 1-800-377-0022 IF ANYTHING STRIKES YOUR FANCY. THEY’LL BE GONE QUICKLY. We’ve never figured out why this superb intrumental album with the Paul Weston Orchestra behind featured soloists has not had more appeal. Fifteen (15) classic standards performed by top instrumentalists. A gem that needs to be heard.

EASY JAZZ Eleven of the most recalled Bamet early recordings when the Barnet Band was challenging the creativity of musicians everywhere. CHEROKEE, THE COUNT’S IDEA, FLYING HOME, CHARLESTON ALLEY, REDSKIN RHUMBA and others. Nicely presented with CD folder noting dates and personnel. 11 tunes from ’39 to ’41.

The ORIGINAL PIPERS in a series of demonstrations of their remarkable vocal ability and musical charm. WHATCHA’ KNOW JOE, WHAT CAN I SAY DEAR, EMBRACEABLE YOU, WINTER WEATHER, DELORES, ETC. Some with Sinatra or Connie Haines; all with the enchanting Piper’s sound. 21 tracks beautifully restored for excellent sound. PIED PIPERS Recorded “live” at the Chesapeake Cultural Arts Senior Prom with the Reunion Big Band. Lynn Roberts is THE Big Band singer of today, captured at her best is this enthusiastic performance before an appreciative audience. A one­ time gem with 19 selections including Lynn singing eight captivating songs. LYNN ROBERTS

They haven’t recorded for years, but you can have this excellent compilation of some of their most requested melodies. STRIKE UP THE BAND, , S’WONDERFUL, LAURA, TENDER TRAP, DON’T BE THAT WAY, THERE I’VE SAID IT AGAIN, PUT ON A HAPPY FACE and more for a total of 13 selections. SPITFIRE BAND

Each of the above single CD sets is specially selected from the back room because it has extraordinary musical value connected with the featured group. The quantities, however, are LIMITED. Please phone 1-800-377-0022 now if you have any interest in any of the above five albums. We can’t stress stongly enough that the number of each album is limited.

Phone 1-800-377-0022 to have your selection sent with FREE shipping & handling. IN ANSWER TO YOUR REQUESTS - BBJ NEWSLETTER DISCOUNT OPPORTUNITY

Through the end of March, 2004, you can extend your subcription to the BBJ NEWS­ LETTER for TWO YEARS and save a full 15% at the same time!

Instead of $22.95 a year, your two year subscription extension will give you a saving of nearly $7.00 for the two years.

If you decide to save the 15%, plus the trouble of re-subscribing for two full years, please phone 1-800-377-0022 and renew with Visa or MasterCard, or put your name and address below and send this sheet along with your $39.00 check for your two year subscription extension to the BBJ NEWSLETTER. Offer expires March 31, 2004.

You may, of course, renew for one year at $22.95, also a reasonable amount for it hasn’t changed for a decade.

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(Tape or Staple Here) VOLUME 91 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2004

Morrow plays trom­ tations by Marlene VerPlanck, who has been a journey­ bone on one ses­ man (joumeywoman?) singer for lo these many years. sion, Tony Pastor is She’s backed by a group consisting of piano, bass and the tenor man, Jerry drums plus trum­ Gray plays violin pet, clarinet/tenor and Lee Castle and and alto playing ar­ Johnny Best are in rangements by the trumpet section Billy VerPlanck atvarious times. Peg who’s the only guy LaCentra and Dor­ in the mix. othy Howe are the Album cover vocalists.The April We’re in love with session seems to reflect more swingin’ numbers and Marlene V erPlanck, some originals by Shaw as if the group became more but that can’t be comfortable about some musical experimentation. public knowledge Shaw’s composing contributions include because Billy is her Marlene on front of album UBANGI, IN THE BOTTOM, HOLD YOUR HATS, husband, a husband who not only lives with her but THE CHANT, BORN TO SWING and just plain THE works with her. The affection stems from first hearing BLUES. her vocal perfection in a tribute to a number of years ago, and being fascinated with her Interesting that the band’s theme as heard on local ability to present perfect diction without sacrificing radio stations at the time was not NIGHTMARE, but a meaning. There are those who find Marlene’s lyric Shaw number titled BUS BLUES, undoubtedly refer­ interpretation sometimes too precise or perhaps occa­ ring to the numbing boredom of trips between one- sionally sounding like a vocal exercise, but even for the nighters. The familiar titles include: SEPTEMBER IN few who express those sentiments, that’s a small price THE RAIN, COPENHAGEN, MY BLUE HEAVEN, to pay for her sensitive interpretation and the unerring WHEN YOUR LOVER HAS GONE, NIGHT AND quality of the music. DAY, SOMEDAY SWEETHEART, Larry Clinton’s STUDY IN BROWN, Raymond Scott’ s TWILIGHT This latest VerPlanck album (and there are many) IN TURKEY and Rodgers and Hart’s ALL AT includes some instantly recognizable standards such as ONCE, possibly the only number from their show BE CAREFUL, IT’S MY HEART, EASY TO LOVE, “Babes In Arms” that didn’t emerge as a standard. I GOT LOST IN HIS ARMS and some lesser-known but deftly assembled songs by such writers as Johnny If you ’re looking for the Artie Shaw we all know, this isn ’ t Mercer, Jimmy Van Heusen/Sammy Cahn, Benny the album for you. If you’re interested in the background Carter/Sammy Cahn and , among others. and development of the Shaw sound, plus hearing solos There’s even a ballad written by Billy VerPlanck. If from top musicians in their earlier stages, this might just music is supposed to be fun to hear, this album fills the be an enlightening aural experience for you. bill. If emotional experience is part of the listening process, this album just might touch your soul. (Souls Two CDs - 45 Tracks - Two hours, eighteen minutes are fairly personal, of course, and the ability to touch total playing time - Available from BBJ Sales - them is purely subjective.) 800-377-0022 or in large record stores D.K. Single CD -18 Tracks - Just under an hour total playing MARLENE VER PLANCK time - $15.98 - Available directly from: AUDIOPHILE It’s How You Play The Game (504) 525-5000 or at larger record stores. Audiophile ACD-325

This is an all girl album, which isn’t the reason to buy H.W. it. The reason is the sensitivity of the vocal interpre­ 7 VOLUME 91 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2004

memorable work as a player is probably chronicled in PROFILE a “live” recorded dance band remote as his growling trumpet style enhanced I DREAMT I DWELT IN Arranger, composer and conductor Billy May left us on HARLEM. In an interview, Billy May recalled that he the 22nd of January this year. Unfortunately there was wasn’t able to do much arranging for Miller because little notice by the general public o f his death, perhaps and were arranging full-time because his work had been forgotten in latter years or for that band, but his nearly symphonic introduction to in many instances his work was anonymous. In spite of Miller’s , said to have been a policy of avoiding mention o f death on these pages written in twenty minutes, is perhaps his most memo­ (hoping it will go away) admiration of Billy May’s rable writing work while he was with Miller. accomplishments compels us to recall highlights of his career, and there were many. BBJ host Don Kennedy During the 1940s, May also wrote arrangements for remembers Billy May. , Les Brown, , Ozzie Nelson and , for whom he contributed the impres­ sive chart for CARNIVAL. During this time he worked in the studios for NBC, writing the music for numerous radio programs, and in the later ’40s became a key conductor/arranger for the then new , later not only creating the musical tapestry for vocalists such as , Nat Cole and , but working on a number of highly successful children’s recordings, including his composition ITAWTI TAW APUDDY TAT. It is the music of Billy May heard on ’s comedy series, “The History of America.” Bandleader pic and May in 2001 For those of us associated with Big Bands and associ­ It was Billy May who co-wrote the theme for the late ated artists, the passing of Billy May was as personal as ’50s, early ’60s TV program “The Naked City” and a family member leaving us, for his arranging output much of the music for the Red Skelton and Ozzie and was not only prolific but the volume of his output was Harriet TV programs. All the while, he was turning out also filled with unceasing quality. Capitol recordings, sometimes “ghosting” arrange­ ments for Paul Weston and then including a specialized Billy May said when he played tuba in a , rhythmic recording for the Arthur Murray Dance Stu­ Pennsylvania high school band he realized there was dios. The popularity of the Arthur Murray recording, more to music than oomp-pah, and that ’ s when he began originally made exclusively for private use, led to the to experiment with musical arrangements. That experi­ formation of the Billy May Orchestra with the sliding mentation led to a self-taught ability and his eventual sax section sound, re-energizing the Big Band business trumpet work and arrangments for . for a time in the ’50s. The Billy May band went on the Billy May had worked with local Pittsburgh bands until road, appearing, as he recalled, at many of the “same he presented some of his arrangements to Charlie joints” he’d played as a sideman with Barnet and Barnet while Barnet’s band was appearing in Pitts­ Miller. burgh, eventually resulting in his arrangement of Barnet’s first million selling recording, CHEROKEE. The drinking and smoking on the road almost killed him. He had a heart attack, stopped drinking and In 1939 Billy May’s second national Big Band job was smoking, went back to work in the studios and added in the trumpet section of Glenn Miller’s band, and he to his legend. Transcribing the original 78s to paper, can be seen in Miller’s two motion pictures, “Sun Billy May tackled the massive job of recording scores Valley Serenade” and “,” but his most of classic Big Band arrangements for the ’70s TLME-

8 VOLUME 91 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2004

LIFE series, using top studio musicians and modem cause it can write and arrange for small combos and recording techniques. He was able to —” xj ' groups up to 16 pieces,” answers arrange so quickly and with such ac­ MHi$ contributions to the store owner. curacy it was said he could j ot down a the music of the 20th full orchestra arrangement in the back century will liveinto The customer inquires about the seat of a car on the way to a recording eternity...." second monkey, and is told, session. Without a piano to guide “That one costs $1,500.00. It him, he was able to hear the final result in his head long knows jazz and classical music. It can improvise or before the studio musicians actually played the music, play technically difficult solos.”

In later life he arranged when asked by musician or The startled customer then asks about the third monkey. movie-making friends, telling us in an early ’90s inter­ “That one costs $3,000.00,” answers the store owner. view that he was financially secure and didn’t need to “Three thousand dollars! ” exclaims the customer. “What work, allowing him to write only what interested him. can that one do?” To which the owner replies, “To be To cite a few, he arranged a WWII song for Bette Midler in the movie “For The Boys” and wrote the itself a bandleader.” arrangement for a melody by James Homer in a movie called “Once Around,” both highlights of otherwise A prominent symphony conductor who shall remain pedestrian productions. nameless never learned the names of his key players, let alone the secondary musicians, even after years of Tex Beneke in 1998 said he and Billy May got together being the prime conductor of a well-known major often. May told us he never strayed far from his roots, symphony orchestra. In his pompous, self-impotant saying he and his wife Doris frequently went to dinner style he referred to members of his orchestra as “Mr. with Regis Cordic and his wife; Regis is a former Second Violin” or “Miss Viola.” That went on for some Pittsburgh radio announcer who made his mark doing time until the percussion guy had a question for the voice-over work in Los Angeles. Billy May retained conductor. “Ahhh,” he said, “This question is for Mr. the direct, outspoken ways of a Pennsylvania Baton.” native who grew up among the rough steelworkers of his childhood, but his phenomenal talent set him apart. The humor and witticisms written into his arrange­ The following is an old, old musician's joke, but ments, the ambition to write so prolifically and con­ as in most funny stories, there’s an element o f tinue during retirement, the imbom drive that made it truth. all possible lifted Billy May far above average. His contributions to the music of the 20th century will live Deep in the African jungle, a safari was campled for the into eternity as he is remembered as a prime contributor night. In the darkness, distant drums began a relentless to the culture of our time. throbbing that continued until dawn. The safari mem­ bers wee disturbed, but the native guide reassured DK them: “Drums good. When drums stop, very bad.”

SIDELIGHTS Every night the drumming continued, and every night Musician’s humorous stories the guide reiterated, “Drums good. When drums stop, very bad.” A man walks into a Music City pet store looking to buy a monkey. The store owner points toward three iden­ Then one night the drums suddently stopped. The guide tical looking monkeys, all seeming eager to be given looked frightened. “When drums stop, very, very bad,” new homes. he said. “Why is it bad?” asked a member of the safari. “The one on the left costs $500.00,” says the store owner. “Why so much?” asks the customer. “Be- “Because when drums stop, bass solo begin!”

9 VOLUME 91 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2004 (A) Harry James (B) (C) Paul Weston GENERAL KNOWLEDGE - (D) Tommy Dorsey BIG BAND ERA TRIVIA QUIZ 4 - The whistler on the reconstituted 1947 hit HEART­ The quiz last issue was on this same non-subject and ACHES by (recorded in 1933) turned out to not only be fun, was: but popular among the readers. (A) Elmo Tanner (B) Elmo One reader wrote to say that the Fyre (C) Leibert Lombardo answer about record sizes (D) should have included the 7 inch 33 1/3 discs with the small cen­ 5 - Pianist/bandleader Frankie ter hole put out by Columbia for Carle’s daughter sang with his a short time, in order to com­ band. Her name was: pete with the large-hole RCA 45 RPM recording, and the (A) Helen Forrest (B) Irene reader was right. The less spe­ Daye (C) Marjorie Hughes (D) cific general knowledge area Patricia Patterson allows more subject material so we’ll do it again. 6 - Stan Kenton’s band ap­ peared on a radio comedian’s Also, the multiple choice for­ show for a short time. The co­ mat seemed to resonate with Phil Harris median was: ______readers. This quiz is a real random subject quiz, moving (A) Red Skelton (B) Jack Benny (C) Bob Hope all the way from sidemen’s names to theme titles with (D) Charlie McCarthy movie information and Big Band radio program in­ volvement thrown in. Because it’s multiple choice, it 7 - ’ s band was the on-air band for comedian should be easier. As last issue, you’ll have to make an eight to gamer an ‘A’ from the teacher; six or seven will (A) Red Skelton (B) Jack Benny (C) Bob Hope reward you with a ‘ B ’ and five or fewer correct probably (D) Charlie McCarthy shouldn’t happen if you’re a Big Band enthusiast. 8 - ’s orchestra appeared in the movie Answers, as always, are elsewhere in this issue. “Hollywood Hotel” with one addition to the trumpet 1 - Bassist Walter Page had his own band for a few section from the casting department. The extra years in the late twenties and early thirties, but is best- trumpet player w as:______known for his affiliation w ith:______(A) Johnny Best (B) Johnny Dollar (C) (A) (B) Les Elgart (C) Count Basie (D) Johnny ‘Scat’ Davis (D) Walter Hitchins 9 - Gene Krupa’s later theme, written to fit the rise 2 - Phil Harris recorded some novelty songs that were of the orchestra pit stage, was titled:______best-sellers, but he ’ s also known for being the bandleader (A) Star Burst (B) Star Dust (C) Star Shine for a popular radio comedian. The comedian was: (D) Star Eyes

(A) Red Skelton (B) Jack Benny (C) Rodney 10 - Woody Herman’s theme was: Dangerfield (D) Charlie McCarthy

3 - Frank Sinatra began his national Big Band experi­ (A) Blue Tango (B) Woodchopper’s Ball (C) Blue ence singing with:______Flame (D) Caldonia

10 VOLUME 91 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2004

we either didn’t know existed or ones we seldom play UPCOMING BBJ PROGRAM TITLES on the air. Most often, these “obscure” recordings are highly entertaining, having languished in the files sim­ March 6-7, 2004 (Repeat listing for new sub- ply because others were better-known. SAUTER-FINEGAN/ scribers.) The time was the ARRANGERS ’40s. New recording tech­ March 20-21, 2004 Still active niques expanded the poten­ ELLIOT LAWRENCE\ as an arrang- tial for fresh sounds in Big Band record­ RIFFLIN’ er and con­ ings. Two arrangers who had worked for ductor, most others got together at this time and caused notably for the Tony Awards TV Show a mild sensation using unusual intruments each year, Elliot Lawrence was a key with their arrangements crafted especially bandleader at the end of the Big Band Era to take advantage of these different sounds. and as such seldom appears in stories or While the Sauter-Finegan approach didn’t programs about those declining band years revive the Big Band business in the United of Big Band’s popularity. We hear com­ States, it did cause considerable talk among ments from Elliot Lawrence as well as his a group of aficionados. top hits from the mid-forties and his less During the second hour we look into some familiar recordings. of the other arrangers whose importance BBJ host Don Kennedy The second hour will be devoted to a has been generally overlooked in the glare subject we’ve neglected for some time....the free­ of the spotlight upon leaders, singers and sidemen. dom to simply “riffle through the records” playing March 13-14, 2004 This is the time when anything that comes to mind. FAMILIAR & OBSCURE we present a well- March 27-28, 2004 Sometime last year we known band or singer THE “N-O-P-Q” FILE (1) began an orderly alpha­ performing a melody we all recall, then follow it with betical attack of the that same performer in a lesser-known recording. We record files, and we’ve finally come to a combined do this every so often for it tends to unveil recordings listing of the letters noted. The program, the first of two to be heard this month and in April, will include such varied artists as Anita O’Day, , Red Norvo, the New Stanton Band, Helen O’Connell, Patti Page, the Pied Pipers, John Pizzarelli, Bud Powell, Andy Prior and among others. We’re not sure which of the above artists will appear in which of the two sessions, but all will be covered in the two programs. As often mentioned, the alphabetical ap­ proach leads to highly varied combinations, for the initial letter of a performer’s name doesn’t, of course, indicate the type of music he or she presents.

April 3-4, 2004 The profiles series of BB J BIG BAND PROFILES programs condenses the music and information from full programs about some of the bands previously presented, for every listener doesn’t hear every pro­ gram, of course. In this session such disparate groups Today’s Elliot Lawrence & Ray Anthony as the mid-west band of Andy Kirk, Woody Herman, Johnny Long, , Fred Waring and Buddy 11 VOLUME 91 BIG BAND JUMP NEWSLETTER MARCH-APRIL 2004

Rich are heard, along be worth it to hear some delights that probably haven’t with background infor­ been exposed to the radio waves for some time. mation. Ifvarietyisyour desire, this program May 1-2, 2004 In our review of BBJ should do the trick. RAY ANTHONY SPEAKS/ programs, we discov- BOOGIE BEAT ered we hadn’t fea­ April 10-11,2004 tured the music of ‘LIVE’ FROM THE Ray Anthony recently. We’ll do that for the first hour. COAST He’s the longest-tenured bandleader from the ’40s still Several months ago the working. subject of a BBJ pro­ gram was ‘ LIVE ’ FROM On the second hour we listen to the boogie beat, NEW YORK, consisting presented by not only the piano-man who popularized of dance band remotes it in the late ’30s, but the Big Bands which followed originating in the Met­ turning the form into a cooperative musical effort. Helen O’Connell smiles ropolitan New York (N-O-P-Q file) area. This gave rise to a Sports or news events sometimes alter BBJ pro­ simi lar program with the gram times or subjects, so please check with your broadcasts which took place on the west coast. This local Adult Standard station for exact day, time kind of program not only has musical historical signifi­ and subject of BIG BAND JUMP in your area. cance, but allows us to take part in a “time-warp” as if we were listening to the radio decades ago when radio SOME ‘HEP’ WORDS FROM THE PAST was a major means of communication and entertain­ ‘Hep’ evolved to ‘hip’, but you get the idea. Here ment. Some unique audio experiences await you. are some terms the swing scene gave birth to. BEAT THE GUMS (or chops) - To talk a lot; be April 17-18, 2004 Good gracious! It was loquacious. SOUNDTRACK MUSIC back in 1990 when we DIG - A verb meaning ‘to meet’ or ‘to understand’. first did an extended in­ “I’ll dig you later,” or “Do you dig?” Could be vestigation of the Big Bands and associated artists who altered to mean ‘look’ o r‘see.’ “Dig the chick over appeared in motion pictures. Those appearances gave there.” us soundtracks from the archives, perserving those ICKY - As a noun, one who is not hip, who doesn’t unique performances for all time. During this two dig the jive. As a verb, a description of one who is hours we’ll hear from , DickHaymes, less than bright. “He’s icky.” Martha Raye, Alice Faye, Betty Grable, Bing Crosby, LAY SOME IRON - To tap dance. MAIN KICK - The stage on which music is per­ Bob Wilber’s Duke Ellington work, Glenn Miller, formed. Bob Hope and some others, too, all taken directly KILL ME - Show me a good time; send me. from the soundtracks of their performances as seen HIDE-BEATER - A drummer. on the big screen. GROOVIN’ or IN THE GROOVE - Perfect; no devia­ tion. April 24-25, 2004 The fun of those sixteen inch CLAM BAKE - Ad lib session. Every man for him­ NEW 40s CUTS radio station transcriptions self. Not in the groove. is that they contain perfor­ mances that haven’t been heard for years. Our good Answers to General Knowledge Trivia Quiz fortune is that some of these performances by bands that later became well-known are as if we’ve discov­ 1-C 2-B 3-A 4-A 5-C ered a fresh, new recording by a classic band....but a recording made six decades ago, hence the title “New 6-C 7-D 8-D 9-A 10-C 40s Cuts.” It’ll take some digging into the files, but it’ll

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