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A Moment In Music

FIRST-CLASS MAIL U.S. POSTAGE PAID Atlanta, GA Permit No. 2022 JIMP N EWSLETTER

VOLUME 102 ______BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 2006

INTERVIEW WITH LES PAUL (Part One)

The Background

Guitarist Les Paul became known to many of us when issued his recording of LOVER, the first multi-track recording made with one person play­ ing all the parts, but Les Paul did so much before that. His name is forever enshrined on a line of solid-body guitars as invented by him. He worked with scores of the greats in the music business, most notably .

His inventions, his innovations, his constant curiosity Today's Les Paul both musical and electronic have created a permanent place for him in the development of music in America. The Interview That insatiable curiosity and the activities resulting from it continue to this day, for Les Paul’s New Jersey BBJ: You were known as Rhubarb Red in the early home is filled with amplifiers, microphones and guitars days. as he continues to experiment to create unique sounds. He still appears every Monday night at The Iridium LP: I was everything. (Laughs) So I was a hillbilly, Club in . He is an individual who believes in I played country, I played bluegrass and I living each day to the fullest, not resting on his consid­ played and then I played pop stuff. I’ve just been erable laurels. around the board.

The Scene BBJ: You played the harmonica at first.

BBJ producer Dave Riggs visited The Iridium to hear LP: Yeah, I started out with the harmonica. That Les Paul, eventually resulting in an extensive conversa­ was my first instrument. A sewer digger on his tion with him. were made with his son lunch hour, he played the harmonica. I jumped off the who handles the details of his appearances. A phone front porch and stared at him until he handed to me and call to his home resulted in the following interview. It said, “I think you want it more than I do.” He handed developed that Les Paul listens regularly to BBJ on it to me and my mother grabbed it and said, “You’re WVNJ in Teaneck, New Jersey. The interview was not gonna’ play this thing until I boil it.” extensive and will be presented in two parts, so rich and informative is the information he imparted. He is, BBJ: What was your first experience with jazz? indeed, an interesting man and a musical treasure. In the early part of the Les Paul career he appeared on the LP: I think when I got a little older, ten, eleven radio as what was known in those days as a ‘hillbilly’ years old I began listening to Eddie Lang who played guitarist. Our first question was about those days. for Bing Crosby, and the Boswell Sisters, and it was at that time I began to realize there was a great guitar player out there....Eddie Lang. And that’s the one I VOLUME 102 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 2006 really copied and learned from. LP: Yeah, when I played the guitar to them as a four by four, they were listening with their eyes, and BBJ: You also listened to Django Reinhart. so I put some wings on it and then they heard it as a guitar, saw it was a guitar, and it sounded much better LP: Django Reinhart was another tiger by the tail, to them. It didn’t mean a thing, but it looked better and and I listened to him and learned from him also; it represented a guitar, so then your next step was to what to do and what not to do, so you named a couple paint the guitar and make it into something that was of them there that were right on the money. beautiful and something you’d love, caress, you’d hold. It’s your bartender, your mistress, your house­ BBJ: You played country music as Rhubarb Red on keeper, it’s your psychiatrist. Chicago radio, but the story goes you’d then jam all night on Chicago’s south side. BBJ: You ’re not only a musician, you ’re knowledge­ able in electronics. How did that come about? LP: I sure did. That was with Earl Hines, Coleman Hawkins, Roy Eldridge, Nat Cole, Teddy Wil­ LP: Well, what happened was that I was terribly son, and a million others. But Chi­ curious when I was very young. I listened on a cago was booming and I was there at the right time, to pair of earphones to the crystal set. I could hear the learn jazz and to know who the great players were and hum. I could hear the sounds created by the radio to share jam sessions with them, play with them, learn station itself. I was more interested in the clock ticking from them. than I was in the announcer talking. And so I would take my bicycle and my earphones and crystal set in my BBJ: Meantime you built a guitar you called “The basket and I would pump my bike out to the transmitter, Log.” What made it special? park underneath it and listen.

LP: Well, the log was special because it sustained; It was raining out and the fellow at the transmitter said, it didn’t add any other sounds than the string “My goodness. Why don’t you come in out of the vibrating, and it didn’t resonate sounds within the rain?” And so I walked into the transmitter and I told guitar itself, so we eliminated the parameters of the him how interested I was in changes of sound. And he sound created by the size of the body. I just wanted the says, “Why don’t you come here on Sundays and I’ll sound of a cement guitar, a railroad track, a hard, dense bring some books that I have home and I will teach you piece of material that would only let the strings vibrate, and explain to you what you wish to know.” and then we could take the sounds that we wished apart; that we wished to accentuate or not accentuate and do BBJ: Where was that station? it all electronically. And then you’d have a much better instrument; no feedback, no problems. And it did what LP: That was WTMJ in Milwaukee, Wisconsin I wanted it to do. and it was half-way to Waukesha where I lived, so I was nine miles away from it and that was nothin’ We took a little apologetic guitar with a pickup on it that on a bicycle, and so I would go out there....then gradu­ fed back and gave us all kinds of problems... .eliminated ally got a job at a barbecue stand. I took a all that and made it into a pit bull instead of a wimp, so telephone.... hooked it up to my mother’s radio and it was a great, great step forward. And, of course, the sang into it and played at this barbecue stand. And a solid body guitar has become the forerunner of all of fellow came along in the car, riding in the back rumble them. seat and wrote a note to the car-hops saying, “Red, your voice and harmonica are fine, but your guitar is not loud BBJ: There’s a story about you having to disguise enough.” And whoever that man was I owe so much to. ‘The Log’ so the Gibson guitar people would If it wasn’t for him being critical I wouldn’t have made accept it. the electric guitar, so I went home and thought about it.

2 VOLUME 102 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 2006

going wild. And it was one of those moments that would never happen again. And luckily it was caught and recorded. It was one of the greatest moments that we ever had.

BBJ: Bing Crosby wanted you to re-create that JATP moment on his radio show.

LP: I told Bing, I said, “If 11 never happen. It’ll never happen with 500 people in that studio audience that don’t know jazz, or few of them, and they’re white people.” And I said, “This is a special moment at Jazz at the Philharmonic and we ’ d better not do it on the Crosby Show.” We did and it died! (Laughs.)

BBJ: Jazz critic Leonard Feather said the performer The young Les Paul complete with harmonica on that JATP concert could play rings around Les Paul. Would you explain that? Made one out of a piece of railroad track. I had made one out of a piece of wood, but the railroad track was LP: We had to use the name Paul Leslie because I much, much better and sustained and it was beautiful. was contracted to Decca. And Nat Cole also No one could lift it, but it sounded great! And I took the changed his name because he was with Capitol. Leonard earpiece of the telephone, put it under the strings and Feather said Jazz at the Philharmonic was one of the had what was to be the finest-sounding guitar I’d ever greatest things he’d ever heard and he talked so much heard. about it on A1 Jarvis’s ‘Make Believe Ballroom.’ He did all this raving about Paul Leslie, that Paul Leslie Told my mother about it in the kitchen and she said, played rings around Les Paul. The following week I “The day you see a cowboy on a horse playing an was on the same show with Leonard Feather. “By the electric guitar, a railroad track electric guitar!” And I way, Leonard,” I said, “I listened to you last week and said, “All right, all right Mom, I get the point.” The you had some comments about Paul Leslie.” And he point was it had to be made out of wood, and so we made said, “Well I’m sorry about that but that’s just my it out of wood and we made it as dense as we could, as honest opinion, that Paul Leslie just plays a lot more solid as we could, sustained as much as we could, and guitar than you do.” (Laughs.) And I said, “I AM Paul just copied what I took out of the telephone and put it Leslie.” into this thing. Then I made something with a handle on it, an amplifier a little better than my mother’s radio, BBJ: Feather’s reaction? Could you have knocked and of course the guitar was bom right there. him over with a feather? (Sorry for that.) BBJ: In 1944 you appeared at Jazz at the Philhar­ monic with Nat Cole, a dynamic performance. LP: Well, he was stunned. He was just stunned. He had NO idea. I used to have that same problem LP: Well, I think the thing that impressed Nat and in Chicago. I went to Larson Brothers to have a guitar me the most, with the other players there, most made. I said, “I’m a guitarist. MynameisLesPaul. I’d of the audience was colored, or black. And the black like to have a guitar made and everything else.” So he people listening to the concert got more excited as Nat says, “Well play me something so I know what you’re and I got involved more and more into this chase that we lookin’ for.” And I played a little something on one of were doing. When it reached its pitch the people were his guitars and he says, “Huh.” He says, “You’re pretty standing on the chairs throwing their hats in the air and good there, fella’. You’re not as good as Rhubarb Red

3 VOLUME 102 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 2006

but you’re pretty good.” (Laughs.) That’s the way it resulting in the development of multi-track re­ goes. cording and his highly successful recording of LOVER. He ’ll also talk about the car crash that BBJ: You ambushed Bing Crosby in order get a nearly ended his musical career. chance to work with him. LETTERS TO THE EDITOR LP: What happened was that after I got in NBC and we were on staff at NBC, I noticed that Bing Letters to BIG BAND JUMP or the BBJ NEWS­ would walk down the hallway j ust before the show, had LETTER may be sent to the address below, or his script in his hand and he would go to this little empty e-mailed to: [email protected]. When you room. It had a piano in it, and so I asked the secretary e-mail, please give your name and address. All to the program director if I could rehearse in that studio, letters are answered, but the volume of mail and she said, “Well, no one ever uses it.” sometimes delays a timely response.

Now, I knew that Bing, every Thursday, would walk in BBJ NEWSLETTER that room. And I assumed, and I was right in my Box 52252 assumption, that he had a little emergency bottle and he Atlanta, GA 30355 took a nip out of it before the show, read his script and then he was ready to walk back, go in and go on the air. The published letters have been edited for space We were in there playing BACK HOME AGAIN IN considerations, but the meaning has been preserved. INDIANA, and the door opened and Bing said, “Oh, I’m sorry. I didn’t know anybody was in here.” I said, James Wolfe, Jr. A few weeks ago I asked about “That’s OK.” Bing leaned over the piano and he’s Mt. Lebanon, PA the recording of FIVE MIN­ listening to us play. He says, “What do you call this UTES MORE by Tex Beneke/ outfit?” I said, “The Les Paul Trio.” And he says Glenn Miller: A Tribute. You suggested trying Google. “Well, of course you’re Les Paul.” I said, “That’s I did. No luck. Have you ever used fetchadisc.com? right.” He said, “Where do you work?” I said, “We just That’s where I found FIVE MINUTES MORE. Best got a job here at NBC as staff members of NBC on the wishes. You’ve got a great program. west coast.” And he says, “Well you don’t work for them anymore. You work for me.” And he walked out Dave Baxter I was listening to your show and I had a job with Bing Crosby. Waukesha, WI and heard a song with the title PEOPLE LIKE YOU AND BBJ: That was you backing Bing Crosby on IT’S A ME. I didn’t hear who the singers were or who wrote LONG, LONG, TIME. the song. Could you please let me know?

LP: That was the first one, first record. I’d been Every time PEOPLE LIKE YO U AND ME is played recording with Bing doing shows with him, but that’s we get inquiries, so appealing is its style and the first RECORDING that I made with Bing. message. It comes from the soundtrack of the second Glenn Miller movie, “Orchestra Wives ” BBJ: How much were you paid for recording? and was written by Mack Gordon and Harry Warren who wrote so many songs for the movies. LP: Two hundred dollars. They’re the ones who wrote CHATTANOOGA CHOO CHOO, KALAMAZOO, AT LAST, I KNOW Next issue, Les Paul tells of his experience in the WHY and SERENADE IN BLUE from the two military working for Armed Forces Radio Service Miller movies. PEOPLE LIKE YOU AND ME is and V-Discs and his work with , a stirring wartime morale song with all the Miller Helen Forrest and . We’ll vocal talent taking part: Tex Beneke, Marion also learn the details of his “garage studio ” Hutton, Ray Eberle and the Modernaires. 4 VOLUME 102 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 2006

cast on KQNT. Do you know if and are still living? Do you ever play I have never heard his music on any of the Big Band stations.

Jo Stafford, who was interviewed in a BBJ pro­ gram on the weekend after Thanksgiving is still living in the Los Angeles area. Betty Hutton left Marion Hutton and Modernaires with Glenn Miller the music business after a suicide attempt in 1972, and is now living in Palm Springs. This The Warren/Gordon team also wrote YOU'LL letter has encouraged us to put a profile of her in NEVER KNOW, I HAD THE CRAZIEST DREAM, this issue. Andre Kostelanetz directed a pop THE MORE I SEE YOU and THERE WILL NE VER concert aggregation and is heard once in a while BE ANOTHER YOU among others. on the DK SHOW, the five hour a week program with a more informal approach and more vocals, Jeremy Shiok& My wife and I re- novelties and features. It may be heard on any of Giovanna Gambardella cently re-located a number of streaming services linked to our web Portland, ME from Anchorage, site at www.bigbandjump.com. Alaska where we never missed a Sunday airing of BIG BAND JUMP on Gerry Selman There was an error on your KHAR. Sadly, we’ve not been able to find a station West Palm Beach, FL quiz date for the recording of here that broadcasts the show much to our disappoint­ ’s BEGIN THE ment. I have e-mailed a leading AM station here and BEGUINE. It was recorded on July 24, 1938, not asked them to consider picking up BBJ. I do not know December 14th. their programming requirements or limitations, but I’m hoping they’ll contact you. For us 30 somethings who Our collective faces are red, for Mr. Selman is discovered the music of the ’40s, yours has become the absolutely correct. After its rapid acceptance by program that brings it to us best. Thanks so much for the public, it was re-issued on the RCA Victor all your work! label, but it WAS recorded on July 24th.

John Hossfeld Thankyou David Lewis So you smashed all my sim- Novato, CA fo r d i s ­ Oakland, CA plistic stereotypes about p la y in g stodgy German rigor and re­ the photo of Ginny Simms straint with your eye-opening focus on their Big Band in your last issue. Her ear­ brilliance. In particular, I WON’T DANCE yeah, a lier association was with very unusual reading bringing out more melody than the band of Tom Gerun. one usually hears from this lyric dominated Kern tune, She can be seen in this 1934 as you said. photo taken at Lakeside Park in Denver in the 1930s. LOVE FOR SALE: a sensational ! By far the star of the hour. I ’ ve never heard the number framed Daniel G. Lander and formed with such depth and driving force. Bravo Spokane, WA to Mr. L.! Thanks for a most illuminating session.

I have been listening to BIG Mr. Lewis hears the one hour public broadcast BAND JUMP for over sev­ version broadcast in the Bay Area. Mr. L. refers enteen years and look for­ to James Last, a most unusual arranger and ward to its Sunday broad­ conductor. 5 VOLUME 102 BIG BAND JUMP NEWSLETTER JANUARV-FEBRUARY 2006

BETTY HUTTON PROFILE

Over the years there has been considerable confusion over the several female Huttons in the entertainment business; questions about their family connection to each other. Betty, without doubt the best known of the Huttons because of her movie work, is the sister of Marion who for a time sang with Glenn Miller. The two sisters are not related to bandleader Ina Ray Hutton, who is however the half-sister of June Hutton whose name is connected with the later Pied Pipers and who recorded for Capitol as a single after the Big Band Era.

Those frequent questions aside, Betty began her career as so many singers did of necessity, for her father died early. Betty was singing on street comers to earn money for the family and by age 13 began singing with local bands, leading to becoming a featured vocalist with Vincent Lopez. Because of her enthusiastic way of presenting a song she was billed as “The Blonde Bombshell.” Her fame with Lopez led to a roles on Broadway in the musicals Panama Hattie (where it’s said The mature Betty Hutton she upstaged star Ethel Merman) and Two For The Show. turned to alcohol to escape her problems, attempted The Broadway exposure, as so often happens, led to a suicide in 1972 and lost touch with friends and family. movie contract with Paramount. She was just twenty- She had essentially disappeared, but as dramatic as the and one when debuted on the screen in The Fleet’s In happy ending in a movie, there’s more to the story for the next decade appeared in various comedic and before the end credits. dramatic movies. Her best-known movies were prob­ ably Miracle Of Morgan's Creek and the Cecil B. A priest found Betty Hutton, became her friend and DeMille blockbuster, The Greatest Show On Earth. At mentor, helped her the same time she became a recording star performing defeather alcohol­ mostly novelty songs to fit her hyper-kinetic personal­ ism while she ity. DOCTOR, LAWYER, INDIAN CHIEF comes worked as a house­ immediately to mind, plus her later pairing with Perry keeper in the rec­ Como on BUSHEL AND A PECK. For the decade of tory. She went on to the ’40s and into the ’50s Betty Hutton was a top star, get her college de­ but it wasn’t to last. gree, taught acting at two colleges in She walked out on her Paramount contract in 1952 New England and when she demanded her husband direct her films and briefly appeared on the studio didn’t comply. She was married several the Broadway stage times, had trouble handling her considerable income as Miss Harrington and in an age when rock singers were dominant, her in. Annie. She is 84 name began to fade in the public’s attention. She now and living in worked in clubs, in and on Broadway in comfortable retire­ Fade In, Fade Out, and even appeared unsuccessfully ment in Palm on television. As her father before her, she Movie star Hutton Springs, California. 6 (Please fold on dotted line)

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(Tape or Staple Here) CENTER PAGE OFFER THE ARTIE SHAW COLLECTION j ARTIE SHAW , The Artie Show Story " m W hy hasn’t someone done this before? This massive collection of Artie Shaw offers just short of a hundred selections on four C Ds from the earliest Shaw recordings to his post-war band. Magnificent quality and a careful selection n$ along with an explanatory CD booklet. Highlights from CD number one include: THE BLUES I & II - COPENHAGEN - MY BLUE HEAVEN - SWEET LORRAINE - NIGHT AND DAY - BLUE SKIES - SOMEDAY SWEETHEART - NON-STOP FLIGHT and FREE WHEELING.

Top recordings on the second CD are: BEGIN THE BEGU INE - INDIAN LOVE CALL - BACK BAY SHUFFLE - ANY OLD TIME - NIGHTMARE - WHAT IS THIS T HING CALLED LOVE - LOVER COME BACK TO ME - ROSALIE - DONKEY SERENADE - CARIOCA - DEEP PURPLE - TRAFFIC JAM - SERENADE TO A SAVAGE. And that’s not all! The third CD contains among others: ALL THE THINGS YOU ARE - MOONRAY - FRENESI - SPECIAL DELIVERY STOMP - SUMMIT RIDGE DRIVE - CROSS YOUR HEART - STARDUST - DANCING IN THE DARK - MOONGLOW - IT HAD TO BE YOU - SMOKE GETS IN YOUR EYES - CONCERTO FOR I & II - ST. TAMES INFIRMARY I & II.

This remarkable collection follows the Shaw genius to post war gems not often heard. CD four includes: LADY DAY - S’WONDERFUL - GRABTOWN GRAPPLE - SEPTEMBER SONG - SCUTTLEBUTT - GENTLE GRIFTER - MYSTERIOSO - HOP, SKIP AND JUMP - THE GLIDER - THE HORNET - I’VE GOT THE SUN IN THE MORNING - WHAT IS THIS THING CALLED LOVE? - LOVE IS THE SWEETEST THING - TENDERLY - I CANT GET STARTED. Anyone familiar with the Shaw output will recognize the liberal inclusion of the Gramercy Five classics. Stellar soloists include Roy Eldridge, Hot Lips Page and Zoot Simms among others. A gem which should be in every Big Band fans library! THE ARTIE SHAW COLLECTION Four (4) CDs (A-21) $50.00 with FREE S & H

Please send me: (A-21) Four (4) CD set: ARTIE SHAW COLLECTION $50.00 (FREE S&H)

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(Tape or Staple Here) VOLUME 102 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 2006

BOOKS AND RECORDS TO CONSIDER) to Benny Goodman by record producer John Hammond. It is the in-between time, a time unfamiliar to today’s FLETCHER HENDERSON & BIG BAND JAZZ generations, during which Fletcher Henderson as The Uncrowned King of Swing sembled a band, appearing at such top spots as the Jeffrey Magee Roseland Ballroom just four years after arriving in the city. By 1930 the Henderson Orchestra was the house A musician friend recalls band at Harlem’s Connie’s Inn, buying a ten inch 78 re­ second only to the Cotton Club cording ofWRAPPIN’ IT as the place to hear Big Band jazz. UP by the Fletcher The book gives credit to this man Henderson Band, and who is often overlooked as a vital later buying the Benny part of the development of the Big Goodman recording of Band sound we hear today. the same tune and noting it was the exact same ar­ For those of us who aren’t musi­ rangement. It was only cians this is a difficult book to one example of the basis read, for it refers to written musi­ for the sub-title of this cal passages on staff paper that book, “The Uncrowned Fletcher Henderson early 1920s cannot be understood if the reader King of Swing, “ for much doesn’t read music. On the other of the early Goodman sound was the result of Fletcher hand, the rich detail of Fletcher Henderson’s notable Henderson’s influence both directly and through both career and often overlooked contribution to the Big original arrangements and those used by his own band. Bands is presented in careful if somewhat academic style. It’s the kind of book The author begins this journey into j azz by visiting probably best read in sev­ Fletcher Henderson’s birthplace located literally eral short sessions, so ‘on the other side of the tracks’ in the southwest densely packed is it with Georgia town of Cuthbert, just 25 miles from the facts, dates and detail. Alabama line. Fletcher Henderson, Sr. was a respected educator and school principal who locked The generous appendix, Fletcher, Jr. in the room with the piano and made notes, bibliography and him practice each day. The young Fletcher index take up the final 76 Henderson’s migration from Atlanta, where he pages. 311 pages total. graduated from Atlanta University, to New York Published by Oxford Uni­ City in 1920 wasn’t to become a musician, but to versity Press, Inc. - New earn a master’s degree in chemistry at Columbia York NY. A vailable in University. He never enrolled at Columbia, for the any good book store author points to 1920 as a year when records began The late '30s Henderson or they can order it. to replace sheet music as the method of music H.W. distribution in America. Radio would soon follow THE ARTIE SHAW STORY and almost without trying the young Fletcher Four CD Set Henderson was offered piano-playing jobs from the moment he arrived in the big city. A record company should have done this long ago, for even though Artie Shaw permanently left the music As you would expect, the book tells in great detail the business in the ’50s, his fans still request his recordings development of Fletcher Henderson’s career including and wonder why they’re often not available. This four his association with such top arranger/composers/mu- CD set provides all but the most dedicated Shaw fans sicians as Don Redman, Coleman Hawkins and Louis most of the significant recordings made during the Armstrong among others and his eventual introduction short Shaw tenure, including his post-war orchestra 7 VOLUME 102 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 2006

with selections featuring Mel Gordon Jenkins' life, but revealing glimpses of others Torme, Roy Eldridge, Hot including his own. Lips Page and top studio musicians. The Proper Box people in promoting the col­ lection say it contains, “mu­ sic from every band Shaw led, from large ensembles to the smaller line-ups.”

There are 97 selections in all, including the ones you would expect such as BEGIN THE BEGUINE, STARDUST, FRENESI and MOONGLOW. The his­ toric Billy Holiday’s ANY OLD TIME is included as well as a generous portion of the Helen Forrest output during her time with Shaw. DONKEY SERENADE, SWEET LORRAINE, MY BLUE HEAVEN, BLUE SKIES, NIGHT & DAY, CARIOCA and TRAFFIC JAM from the pre-war Shaw Orchestra are in this collection, as well as THE BLUES, parts one and two. The less familiar THE GLIDER, THE HORNET and EVE GOT THE SUN IN THE MORNING comprise j ust a part of the post-war band ’ s output featured on one of the four CDs. Gordon at recording session

A fifty page booklet with photos completes this care­ To gather material for the book, the author interviewed fully crafted collection. The notes are packed such personalities as Frank Sinatra, , Bea with information and background material vital to Wain, Martha Tilton, , Nick Fatool and Alan serious collectors. King among many others. He even interviewed a key Available from BBJ Sales at 1-800-377-0022 Gordon Jenkins' detractor, radio personality Jonathan Schwartz, the son of composer Arthur Schwartz. In a GOODBYE - IN SEARCH OF GORDON JENKINS chapter devoted to those who take exception to the The man behind the music of Frank Sinatra, quality of Gordon Jenkins' work, he even quotes jazz and critic and author Will Friedwald who offered a list of By Bruce Jenkins musicians who took exception to Jenkins' arranging style.

The son of composer/arranger/conductor/performer No matter. The book is so readable and the life and Gordon Jenkins has re-discovered his famous father in work of Gordon Jenkins is so fascinating that it kept this this deeply intimate look at a strange and wonderful reviewer ’ s reading lamp on until well after bedtime. He musical genius. Bruce Jenkins, now a sports columnist was a man whose genetic talents allowed him to under­ for the San Francisco Chronicle, says his friends had stand music at age two, play the piano at age four and been urging him to write this book, a book that’s taken leave high school in his senior year to make a living years to research. When, as the author points out, with music. He’s revealed to us as a man whose you’re busy playing high school basketball and writing demeanor seemed stem, but whose emotions were for the school newspaper, you miss some important thickly simmering, waiting to emerge with beautiful aspects of your dad’s life. His interviews with his dad’s music or a lovely sight. friends and professional acquaintances and his own We discover it was that easily roused emotion that views have resulted in a personal insight into not only enabled Gordon Jenkins to write such sensuous songs 8 VOLUME 102 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 2006 as Benny Goodman’s closing tribute to not only his work but the theme GOODBYE, written in re­ many aspects of his life. It reads action to a tragic personal loss, or as an adventure of discovery with arrange the sensitive introduction the appeal of a novel. Music fans to Nat Cole’s STARDUST. It should read it for its insights into was this deep sensitivity that trans­ the music business and glimpses formed a construction worker’s ofpersonal characteristics of stars rough sign into the music and such as Bing Crosby and Judy lyrics of . Garland. Gordon Jenkins fans The Jenkins arranging magic was should read it to become ac­ much of the reason Peggy Lee’s quainted with the man who wrote LOVER began a new direction in and arranged some of the most vocal recording. endearing recordings of our time.

Gordon Jenkins died too young, a 341 pages including selected dis­ victim of ALS, but this book is a cography and index. Available in Jenkins & Judy in London - 1957 any good book store. D.K.

The road to national syndication occurred nearly by BIG BAND JUMP TWENTIETH accident as often happens. Early in 1985 a listener in ANNIVERSARY an Atlanta suburb sent a postcard suggesting the pro­ gram should be heard nationally. With that encourage­ The whole thing started back in September of 1982 ment, Kennedy put together a list of possible stations when the student manager of college-owned WRAS- with formats to accept such a program, figured out how FM in Atlanta asked his former employer to play some it could be marketed and recorded an audition cassette as part of a mailing campaign.

In three months BBJ was heard on twelve stations. The list increased to twenty, then fifty, eventually reaching nearly 150 stations in all parts of the nation, plus a state- owned broadcast service in Switzerland. The station list has varied over the years as station formats, owner­ ship and personnel changed. Technically, the original analog reel-to-reel distribution gave way to digital distribution on CD some years ago and the program is available on several internet sources, but the Big Band focus of the program has been constant. For 1,040 weeks the two hour BIG BAND JUMP has been sup­ plied to commercial broadcast stations nationwide, generally airing on the weekends. For the past 23 years, Jeff Walker in GSU studio a one hour non-commercial version of the program has been produced for the original Georgia State Univer­ of his Big Band records in the middle of his rock n’roll sity station and a group of public broadcast stations. As program. The student was Jeff Walker, now a Georgia an offshoot of BBJ’s success, this newsletter began State University executive, and his former employer publication in early 1989 with the help of former was Don Kennedy. Listener reaction was positive, so announcer and radio executive Herb Gershon.. Jeff asked Don if he’d like to do an hour at one o’clock each Sunday. The program was called “One O’Clock Over the years a varied and numerous group of friends Jump” after the famous theme melody. have contributed to BBJ’s longevity. They are not

9 VOLUME 102 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 2006

people whose names you would know, but a series of 9 - Bix Biederbecke production folks, engineers, musicians, business people and Big Band fans have had a great deal to do with BBJ 10 - ChuBerry____ staying on the air. W e’re indebted and thankful for everyone’s encouragement and help. 11 - WingyManone

FIRST NAME QUIZ 12 - Bunny Berigan Years ago we did this before, but with a varied list of MOMENTS IN MUSIC musicians, a few of whom are duplicated here. We received this quiz from a reader whose letter became Every so often we broadcast key ‘Moments In separated from the quiz making it impossible to prop­ Music, ’ occurrences leading to significant re­ erly credi t him for its authorship. We can make that good cordings from the Big Band Era. The following next time for he offers these quizzes with some regularity are some of those background stories, some of allowing us to not strain any part of our group cerebellums, which will be heard on two BBJ programs sched­ and we appreciate his efforts and his quiz talents. uled in February as noted in this issue.

It’s probably true that every endeavor spawns nick­ CAREER BEGINNING names but it would seem the entertainment field in The year was 1939. A young general and the music business in particular excels in bandleader/trumpet player encouraging the use of strange monikers. There fol­ named whose band lows a column of names by which these musical person­ was not yet a year old was look­ al ities were generally known, with a blank after each ing for a ‘boy’ singer. While he name. There is no matching column here, making it was in the metro New York City even more difficult. area he heard a radio remote from the Rustic Cabin in New Jersey We passed this quiz around the office to determine its which featured a singing waiter. difficulty and found most of us could only put first Harry James liked what he heard, names to about half the list. Reprehensible! The birth and hired the young man. Even certificate names are on the back page right after the though it wasn’t popular when it program titles list, and it’s our hope you do better than was recorded, the 23 year old we did. singer’s recording of ALL OR NOTHING AT ALL 1 - Hot Lips Page______became his most famous with the James Band. At the time it sold only a few thousand copies, but after the 2 - Muggsy Spanier______singer left Harry James to become a household name with , the recording became a million 3 - Duke Ellington______seller. The singer was, of course, Frank Sinatra who had his first Big Band experience with Harry James. 4- Cozy Cole______SURPRISE BIG BAND In the early ’50s ar­ 5 - Cootie Williams______ranger Billy May was asked to create an album of danceable music for the private use of the Arthur 6- RedNorvo______Murray Dance Studios. Since leaving the trumpet section of the Glenn Miller Orchestra, Billy May had 7 - Dizzy Gillespie______concentrated on studio work composing, arranging and conducting for the then new Capitol Records. It was 8- Fats Waller purely a side venture for the record company and the 10 VOLUME 102 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 2006

arranger but the style of those recordings was so ap­ pealing Billy May was asked to organize a band using In retrospect, dancing was the basis of the success of the that same style, based on a sliding sax section sound. Big Bands, for it was the kids who either went to the The band went on the road and for a short time became ballrooms or danced to records in the living room. It the most popular band in the nation in an era when was dancing as well as listening that fueled the music everyone thought the band business was dead. business. Surprisingly, some of today’s college stu­ dents have again embraced the Big Band sound for dancing, having discovered LONE INSTRUMENTAL By 1949 the vocalists had completely taken over the hearts and minds of the this ‘new’ kind of music and record-buying public. Many of the Big Bands had its full, dynamic sound. This BBJ is for both those who dissolved as young families watched television or went grew up with Big Bands and to drive-in theaters. All of the best-selling recordings that year were songs: scored with MULE the converts. It is pure music [ for dancing. TRAIN, ’ s Broadway-based hit songs were SOME ENCHANTED EVENING and BALI HAI, January 7-8, 2006 Evelyn Knight sang POWDER YOUR FACE WITH FORTIES SONGBOOK/ SUNSHINE. There was, however, one single solitary THE GIRLS instrumental Big Band recording that rose to the top that year. ’s recording of Irving Berlin’s old The singers w i t h the Big BBJ host Don Kennedy „ , . , . , tune I’VE GOT MY LOVE TO KEEP ME WARM was ------Bands were not high­ the only instrumental to reach the charts in 1949. lighted stars as they later became, but considered themselves a part of the unit, just one of the sidemen, NAME THAT TUNE In the mid-thirties the newly or sidewomen. There were, of course, singers who formed Count Basie Orchestra were on their own in the forties but they were unique for was doing a late-night radio that time. We offer both categories in this program, dance band remote at the Reno often capturing the sound of a vocalist before she Club in Kansas City. The pro­ moved on to become a single star in the fifties. The gram was running short, though, early Doris Day with Les Brown, Jo Stafford with and the announcer didn’t know Tommy Dorsey, and Helen O’Connell the name of the final selection with , Helen Forrest with Hairy James to be played. He whispered to will all be there, plus some single stars. the leader, “What’s the name of this one, Base?” The riff Count January 14-15, 2006 In accordance with ^ „ Basie planned to use to close Count Basie , , FORTIES SONGBOOK/ social tradition, we ------the program had a name that THE BOYS put ladies first in our couldn’t be used on the air. two program package Basie recalled it was about ten minutes to one at the exploring the singers of the forties. As with the ladies, time so he told the announcer, “Just call it ONE we’ll present first a sample of the gent’s work with a O’CLOCK JUMP.” That tune, named on the spur of Big Band and follow-up with the same singer’s work the moment and based on a random riff, became the after achieving solo success. We expect to follow the band’s long-time theme, forever identified with the careers of Frank Sinatra, Dick Haymes, Vic Damone, Basie Band. , , Bing Crosby and possi­ bly some others as we dig into the boy singer’s careers. UPCOMING BBJ PROGRAM TITLES January 21-22, 2006 This is one of those December 31,2005/January 1, 2006 (Repeat list- WHOSE BAND IS THAT? BBJ programs de­ NEW YEAR’S DANCE DATE ing for new lighting some listeners subscribers.) 11 VOLUME 102 BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 2006 and puzzling others. When we first came up with this hit recordings made in his garage. The audio portion of ‘musical quiz show’ a couple of years ago, pleased parts of the Les Paul interview in this issue will be heard listeners wrote to say they identified all the bands before on the program. their identity was revealed. Others wondered why we would produce such aprogram. Here’s the reason: It gives February 18-19, 2006 Published in this issue, listeners an opportunity to hear superb arrangements by MOMENTS IN MUSIC I as occasionally in the top name bands not generally played on this kind of past are background an­ program while at the same time couching those unfamiliar ecdotes connected with various top recordings. We’ve recordings in a reasonably pleasing format. We play the collected together those stories to make up this and the unfamiliar recording, then identify the band after it’s next BBJ program. Since interesting events occur to played. To lighten the load we also insert the oft-played every kind of musical endeavor, this program promises to recordings by those same bands. be eclectic. There will be stories about recordings by singers, small groups, large bands and instrumental solo­ January 28-29, 2006 It wasn’t long be- ists packed together into one program. REMEMBERING MANCINI fore Henri Mancini left us February 25-26, 2006 when BBJhost Don Kennedy had the oppor­ MOMENTS IN MUSIC II tunity to talk with the masterful composer/ arranger/conductor. We hear some of those The genesis of this and Mancini comments along with his magnifi­ the program before is a cent music created for movies and televi­ series titled ‘Moments In sion, plus emotionally satisfying medleys. Music ’ produced for inter­ Included will be highlights from the movie mittent use by radio sta­ ‘Victor-Victoria’ as well as PETER GUNN, tions in order to present PINK PANTHER and MOON RIVER. some of the classic Big Band recordings in a short February 4-5, 2006 The Great Am­ feature. This format al­ RE-BORN HITS erican songbook lows them to be dropped is full of re­ into programs of other type cycled music. Just as certain motion pic­ music as a bit of music tures seem to be made over and over, (think history. The features have King Kong) so popular melodies are re­ Henry Mancini been so well received, and introduced to the public in different form. In ------cover so much musical ter­ this session we check out the story of the original source ritory, it seemed like a good idea to create a full BBJ with of the composition and then present the re-bom version. them. JOHNSON RAG, for example, had at least two lives. I CRIED FOR YOU was bom in 1923 but re-introduced to March 4-5, 2006 There is so much of a new generation in the ’40s. Similarly, Rudolph Friml’s ARTIE SHAW REVIEW the music of Artie INDIAN LOVE CALL was given a different veneer by Shaw never played be­ Artie Shaw. Some enlightening moments in this BBJ. cause it is eclipsed by the Shaw recordings now a perma­ nent part of the Big Band idiom. In this program we hear February 11-12, 2006 There are pioneers in every not only those oft-repeated Shaw classics, but some others LES PAUL PROFILE endeavor. Les Paul is a perhaps as worthy of exposure but not so frequently heard. pioneer in music and elec­ Along the way we hear comments from the leader of the tronics, combining the two to create the first multiple Artie Shaw ‘ghost band,’ Dick Johnson. track tape recording, and inventing the solid body guitar. Assisted with Les Paul’s comments, we hear the story behind his rise to fame including his work as a hillbilly ANSWERS TO FIRST NAME QUIZ player, his association with Bing Crosby, his work for the Armed Forces Radio Service and V-Discs and his record­ 1 - Oran 2 - Francis 3 - Edward 4 - William ing of LOVER and the other electronically multi-layered 5 - Charles 6 - Kenneth 7 - John 8 - Thomas 9 - Leon 10-Leon 11-Joseph 12-Roland

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We seem to have started a back page pretty girl singer photo tradition. This is Marlene VerPlanck.