IN THIS ISSUE:

♦ An in-person interview with ♦ LETTERS TO THE EDITOR MARTHA TILTON about the movie vocalist(s), Miss Otis Regrets, ♦ A mini-bio of pianoman program ideas and more JOE SULLIVAN

♦ The history of the VALENCIA BALLROOM in York, PA BIG ♦ A lyric TRIVIA QUIZ BAND

♦ Sidelights from FLIP PHILLIPS' 80th birthday party. JIJBP NEWSLETTER

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

VOLUME LX BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY1999 attach Martha Tilton’s career to the Goodman orchestra MARTHA TILTON INTERVIEW alone, but of course there was much more than that.... the very reason for this interview with the lady dubbed Liltin’ Martha Tilton. The Scene Martha Tilton is a busy lady, and we made two or three phone appointments before we were able to connect, with much confusion between the time on the east and west coasts and interfering activities on both sides of the interview. She is a most gracious and young-sounding lady, with the verve and energy of someone thirty or more years her junior. She is one of those down-to-earth people who’s easy to talk to, and talk to her we did, first discovering if music had been a part of her life from the start. The Interview Liltin’ Tilton & Blowin’ Benny rehearse The Background BBJ: Have you been singing all your life? The second of the permanent vocal­ MT: Well, practically. I really started working when ists, Martha Tilton was hired after a series of singers I was about seventeen. We always had music in were either considered or actually sang for a very short my family. My mother played the and I come from time with the band. After the extremely popular Helen a musical family and I can always remember singing and Ward left, there were three songs recorded by Ella playing the piano since I was a little girl. Fitzgerald singing with the Goodman orchestra, but legal entanglements with Chick Webb made that a short BBJ: Where was that family? association. Benny Goodman considered Bea Wain (then Beatrice Wayne) but lost her to the Larry Clinton MT: This is when we were living in Kansas. We band; Margaret McCrae sang with Goodman for a moved to when I was seven years while, then Frances Hunt, followed by Peg LaCentra old. From then on we lived here in L.A., so I really grew who moved over from ’s group. After that, up in this town. a girl named Betty Van was on the bandstand for a short time, but in mid 1937 Martha Tilton came on the scene. BBJ: You replacedHelenWard withBenny Goodman. The interview tells the story of how Martha was Did you ever listen to her records? “discovered.” MT: Yes. She and I have remained friends until she Martha Tilton left Benny Goodman’s employment in passed away last year. We’ve known each other 193 9, at a time when several of the Goodman musicians since those early days with Benny Goodman, and she was were leaving for one reason or another. She was a wonderful girl and a marvelous singer. Loved her replaced by ’ wife at the time, Louise singing; in fact when she first started with Benny I used Tobin. From out here away from the details, we tend to to listen to him all the time and she was the singer then and VOLUME LX BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1999 I just.....she was a wonderful singer and a wonderful the time. In the girl! meantime, Ziggy was having to play BBJ: How did you get on the Goodman band? his solo every time and his poor lip was M T : Well, I auditioned. He was doing the Camel giving out. Finally Caravan show here in Los Angeles, and I was Johnny had the lyr­ singing with a chorus at the time, and this chorus was ics as he wanted hired to be on his show... on the Camel Caravan. Itwas them and that was a swing chorus. Every week I had a four bar solo in this the way it was actu­ chorus number that we sang, and at the time Benny was ally recorded, but I looking for a singer. He’d had two or three since Helen remember on the and he was dissatisfied and still looking for a singer, way out.... I was so which I didn’t know. His manager heard me sing those sick of this song.... I four bars (laughs) and he said to Benny, “Why don’t you said to Harry James, audition this girl? She sounds like she has a really good “All that time we voice.” So I did. After the rehearsal was over I spent on this, and it’ll auditioned and sang three or four numbers. I was hired never be a hit.” right then and there. Martha at work (Laughs) Which is the dumbest thing I BBJ: Most people remember you from the recording ever said. of AND THE ANGELS SING. At ’s funeral, which was so sad. .. it was M T : Yes. That was the big recording I had with here in Los Angeles ... and everybody in the music Benny. It’s kind of ironic. The only thing that business was there, and during the service they played Benny didn’t try to solo on. You know, Ziggy Elman did AND THE ANGELS SING on the organ. I’m telling the trumpet part which was so great. He did such a good you, there wasn’t a dry eye in the whole place; it was job on that. (Editors note: There was at least one other touching. recording sans a Goodman solo. It was Richard Maltby’s SIX FLATS UNFURNISHED.) BBJ: Any remembrances of particular people during your time with Benny Goodman? BBJ: Didn’t Ziggy Elman record the melody of what became AND THE ANGELS SING earlier? MT: It’s been sixty years since I was with Benny and I’ve remained friends for years with all of the MT : It’s kinda’ funny. Ziggy Elman made his own musicians in the band. They’re nearly all gone now. The recording of AND THE ANGELS SING for only one left is Chris Griffin, who played trumpet with another record company, and it was called FROELICH Benny. I remember it was a very pleasant time for me. IN SWING, which is actually an old Jewish folk song, We worked terribly hard. He was at the peak of his sort of. Benny liked it and thought it was great, so he popularity and we worked constantly; in fact we went said we’ll make a regular recording of it. I forget who two years without a day off, as I recall. We would play made the , itwas either Glen Osser (Martha maybe a hotel, say the Pennsylvania or the Waldorf muses for a moment) I’m not sure, but where we would play Monday through Saturday night wrote the lyrics. We’d been on the road for a long time. and Sunday was supposed to be our day off, but then we We got into and went right to Victor studios would go someplace else, either the theater in Newark or to make this record, and Johnny hadn’t finished writing Philadelphia at a place. Wejustneverhadadayoff. But the lyrics yet, so he scratched out the lyrics on top of the we were all young and we took it in . piano there and we made the first take and he said, “I don’t like those lyrics, I want to change them.” We BBJ: Tell us about Martha Tilton as a single sincethe made three or four takes with Johnny changing lyrics all Goodman days. 2 VOLUME LX BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1999 M T: I came back to Los Angeles and I immediately BBJ: Are your grandchildren nearby? went on staff at NBC. You know, those were the days of radio and I did quite a few radio shows. I had MT: Yes. I’m lucky in that respect. They live very my own show for a while and then I started just being on close to me so I see them a great deal. shows. I was on the show for a long time, and Fibber McGee & Molly. I worked steadily doing BBJ: When you hear your records, do you think it’s radio shows and theaters from then on. Then I got on the someone else... another you? Alka-Seltzer show with Curt Massey, which was a fifteen minute musical show that was on for eight years, MT: No, I don’t. When I hear my own records I at one time or another on all three networks, ABC, CBS think, they’re playing my record. Isn’t that great! and NBC. After that, I retired for two years because I had a little girl and I wanted to stay home with her. Then And it IS great! Martha Tilton remains one of the most the Massey show went back on television here in Los active of the girl singers of the Big Band Era, appearing Angeles, and believe it or not it was a fifteen minute often at functions celebrating the era and its music. show just like the Alka-Seltzer show was, and that went on for seven years. In the meantime I was making D.K. records, so I was very busy for years. Music personality interviews appear in this space in BBJ: Did you ever make transcriptions, exclusively each issue of the BBJ NEWSLETTER for radio stations? MT: I mostly made transcriptions when ASCAP LETTERS TO THE EDITOR went on strike, and we made loads oftranscrip­ tions then of tunes that weren’t ASCAP. (American All letters to the program or the newsletter are an­ Society of Composers, Authors and Publishers.) swered eventually, although only letters deemed of most general interest are used in this newsletter; please BBJ: What’s your feeling about today’s musical be patient, for the volume is greater than our ability to styles? handle in a timely fashion. Questions and comments about either the BBJ NEWSLETTER or the BIG BAND MT: Well, (hesitates a bit) a lot of it I don’t like, JUMP radio program may be sent to: naturally. Like rap and all that stuff. Some of it is good and most of it is bad. You know, I’m of BBJ NEWSLETTER another era and I don’t appreciate these tunes where Box 52252 they repeat one word over and over for about a minute Atlanta, GA 30355 and a half. It doesn’t make sense to me at all, and I really feel sorry for the kids who have to listen to this today. The letters that follow have been edited for space I think it’s switching back a little now. The swing band considerations, but the meaning has been preserved. style is coming back and the kids are learning how to jitterbug, Etc., which brings some of that music back, Ed Greer I listen to your program BIG BAND which is good. Pittsburgh, PA JUMP over WJAS. Please include the lady singers of the Big Bands on some BBJ: Are you happy in your life? of your future programs. MT: Oh, heavens yes! I’m married and have five Thanks for the thought. We've done programs on the grandchildren and have a large family and lots girl vocalists before, but it’s certainly time to do it of friends. What do you mean am I happy? Am I going again. Please see the UPCOMING BBJ PROGRAM to say no? Being 83 years old I’m not doing an awful TITLES for a fresh program based on your premise, lot. I walk a mile every day and see my family and including some selected comments from the Martha friends. I’m very busy and very happy. Tilton interview in this issue. 3 VOLUME LX BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1999 Robert C. Riess Still enjoy hearing your program The Harry Goldson Big Band is recorded on Harry’s River Bend, NC over WNOS while I construct private CD label, and is available at: WEATHERBIRD ship models, but try as I might, I PRODUCTIONS - Box 15 - Suttons Bay, MI 49682. can’t remember why “Madame is not dining..... Harry is a former Big Band reed man who records on the West coast with some of the top studio men in the We may be thinking of the wrong song, but it could be MISS OTIS REGRETS, a tune about Miss business, performing as his band. He also hosts a Otis seeing her guy with another girl and shooting him. get-together in Suttons Bay each year, but runs an art She paysfor the dastardly deed, however, when the mob gallery full time. The rendering of Harry with his hangs her from the willow tree. The lyrics tell it much, clarinetis by Robert Guinan, an internationally known much better: artist and friend of Goldson. Miss Otis regrets she's unable to lunch today, Madam Ken & Pat Bodine Who are the soloists on Les Miss Otis regrets she's unable to lunch today. Denver, CO Brown’s I’VE GOT MY She’s sorry she’s delayed, but last evening down in LOVE TO KEEP ME lover’s lane she strayed, Madam. WARM? Miss Otis regrets she’s unable to lunch today. When she woke up and found that her dream of love We checked with Les Brown, Jr. to get this answer. He was gone, Madam, said his dad is traveling throughout the world with his She ran to the man who had led her so far astray; new wife, only stopping in Los Angeles once in a while, And from under her velvet gown, she drew a gun and but he knew the names. Jimmy Zitoplayed trumpet, the shot her lover down, Madam. always reliable Ted Nash was the tenor soloist and the Miss Otis regrets she’s unable to lunch today. piano was played by Geoff Clarkson, who left soon When the mob came and got her and dragged her after that record was made to work exclusively for Bob from the jail, Madam, Hope as his accompanist. You ’ll recall that the Les They strung her upon the old willow ‘cross the way. Brown orchestra was featured on the Bob Hope radio And the moment before she died, she lifted her lovely and television showsfor years, until the Hope contract head and cried, Madam, with NBC expired. Miss Otis regrets she’s unable to lunch today. © (All rights reserved by publisher) Robert Walter Never miss your show on station Bowie, MD WWDC in the Washington, DC area. Myra Buckley For some future program, how about a Springfield, VA segmentfeaturing outstanding soloists by instrument. On Saturday morn­ The soloists were the ones who really made the swing ing, November 14, bands cook. your last number on Another solid idea. We’ve had programs titled THE the program was DARN THAT PIANO PLAYERS, THE TROMBONE PLAYERS and DREAM featuring a the SAXPLA YERS, but they were presented years ago. tenor sax man by the It’s time we did them again, with stress on the sidemen name of Harry as Mr. Walter suggests. See UPCOMING BBJPRO­ Goldson. This is one GRAM TITLES. of the most beauti­ fully-rendered num­ Bob Nance I heard a portion of the BBJ program bers of a saxophon­ Victoria, TX on radio transcriptions. Capitol (tran­ ist I have ever heard, scriptions) had some great King Cole and I am at a loss to Trio cuts, and even some acceptable Vincent Lopez and understand why I material. The SESAC library had some have never been good Elliot Lawrence cuts.... all BMI and public do­ Artists impression of Harry Goldson aware of this artist. main. I’d also like to hear ‘most anything by Caterina 4 VOLUME LX BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1999 Valente, an underrated vocalist. swers. Our information came from a CD of the soundtracks of the two Miller movies. We don't know Mr. Nance is aformer radio announcer. We ’ll look up which is correct, but wonder why John McDonough of some of the material he suggests and include it on a DO WNBEA T, who wrote the album notes, came up with future program. the Lorraine Elliot name. Mr. McDonough says Lorraine Elliot recorded I KNOW WHY in March or Martha Brown Your “First couple of years of April of 1941, along with and the Hyattsville, MD the ” program has just Modernaires. was also recorded by Lorraine concluded. I closed my eyes Elliot and John Payne for and there I was again - early teens - sitting in the front but never used, according to McDonough’s extremely row of the old Capitol Theater in Washington, DC, and detailed notes. A year later, McDonough writes, when the orchestra came up out of the bowels of the theater... it was revived for it was recorded up - up - up... the stage and this marvelous band of again in April o f1942, this time with and Vaughn Monroe playing RACING WITH THE MOON. Pat Friday.... the version used in the second movie. For a brief moment I was a teen-ager again. Thank you! Whatever the case, they ’re both excellent singers, the cuts are superb, the listening is good and the memories are nice. The soundtrack versions of the Miller melo­ dies are, we think, among the best Miller material available, both technically and musically. H.W. ( records to consider) LIVE & SWINGING Chris Dean and the Syd Lawrence Orchestra SLCD 003 When Britain’s Syd Lawrence retired and his orchestra Vaughn & The Moon Maids circa late '40s. changed hands, eventually to be led by young trombonist Chris Dean, there was some concern about the quality of the music suffering. We needn’t have worried. The Ken Tidwell About two years ago, I received a very latest release by the orchestra was recorded live at a Palm Bay, FL nice reply from you in response to the concert in 1998. In the album notes, fellow trombonist question about who did the voice dub­ and English bandleader Don Lusher assures Syd bing for in the two Glenn Miller movies. You Lawrence, who is now directing a band sponsored by St. replied that it was Lorraine Elliot in SUN VALLEY Peter, that the band is in good hands. SERENADE and Pat Friday in ORCHESTRA WIVES. Included on the CD are IDAHO, MY KIND OF TOWN, Contrary to this rumor, the voice dubbing in both WHERE OR WHEN, DARDENELLA, DARN THAT movies was done by Pat Friday. Ms. Friday appeared DREAM, PEANUT VENDOR, AND THE ANGELS at the 23rd annual Glenn Miller festival in Clarinda, SING, FRENESI, AT LAST, SLAUGHTER ON Iowa this past June and made it quite clear it was she TENTH AVENUE, STARDUST, AN AFFAIR TO who did the dubbing in both movies. REMEMBER, LEAVE US LEAP and a Basie tribute pairing APRIL IN PARIS with JUMPIN’ AT THE This is going to be one of those continuing questions WOODSIDE. There’s no question about the superiority with resolute and knowledgeable folks offering an­ of live recording before an audience, as has been men­ 5 VOLUME LX BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1999 tioned here before. There may be a few clams and the TOWN OF BERLIN, IS YOU IS OR IS YOU AIN’T mix may not be ideal, but the enthusiasm and energy MY BABY, THERE’S A FELLA WAITIN’ IN exchanged between the orchestra and the audience is POUGHKEEPSIE, ROUTE 66, TALLAHASSEE and unmistakable. SOUTH RAMPART STREET PARADE, plus a juke box favorite from the early ’40s you probably thought For information about the CD and the orchestra, write: you’d never hear again, PISTOL PACKIN’ MAMMA. SYD LAWRENCE SOCIETY - PO Box 25731 - London, SW19 8WH. Pure nostalgia, and lots of fun. Should be available in any record store. THE SWEETEST SOUNDS EVER HEARD Best Of The Sweet Bands Hip-0 HPO 40014 This is a product of one of those record companies that caters to specific tastes of a niche public, digging out some outstanding examples of sweet bands, often over­ looked in CD compilations. These are all gentle melo­ dies, but we found it strange that and , for example, would be considered sweet bands. Strange too, from this reviewer’s standpoint, that Spivak’s superb STARDREAMS wasn’t selected rather the fairly obscure THIS IS NO LAUGHING MATTER. There’s playing LOVELY TO LOOK AT, ’s THE VERY THOUGHT OF YOU, The Casa Loma’s SMOKE RINGS, Isham Jones’ Bing & the Sisters STARDUST, Glenn Miller’s , ’s THIS IS NO LAUGHING MATTER, Dick Jurgen’s CARELESS, Jimmy Dorsey’s MARIA AND THE ANDREWS SISTERS ELENA, Woody Herman’s FRENESI, Jan Garber’s MOON OVER MIAMI, Guy Lombardo’s RED SAILS Even though, technically, this album doesn’t come IN THE SUNSET, Sammy Kaye’s IT ISN’T FAIR. .. under the heading of Big Band, the recordings repre­ for a total of 14 selections. sented are certainly a product of the era. The people at MCA who control the Decca masters have finally put Should be in record stores. together a collection of all the recordings made together by Bing and the sisters, including some amusing blow­ COUNT BASIE ORCHESTRA ups when something went wrong, and a parody of the Count plays Duke song A HUNDRED AND SIXTY ACRES, previously Mamma MMF 1024 not heard except by recording executives and engineers. This is the current Basie orchestra directed by Grover There are a total of 5 3 cuts on the two CDs, all carefully Mitchell, with special guest Frank Wess with his flute restored from 78 masters, beginning with CIRIBIRIBIN and alto sax. Crisp and thoughtful of such (recorded in October of 1939) and ending with COOL well-known melodies as: TAKE THE A TRAIN, IT WATER (from October of 1952), then six of the blow­ DON’T MEAN A THING, I GOT IT BAD, I LET A ups which have never been heard outside the studio. SONG GO OUT OF MY HEART, JUST SQUEEZE Highlights are: THERE’LL BE A HOT TIME IN THE ME, DO NOTHIN’ TILL YOU HEAR FROM ME, IN (Please fold on dotted line)

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(Tape or Staple Here) THE CENTER SHEET OFFER - BENNY GOODMAN

This is not a new recording, but it’s a gem with many of the top melodies of the early ’40s Goodman orchestra, superbly recorded originally, and now digitally restored. This was the orchestra with arrangements by such luminaries as Eddie Sauter, , Fletcher Henderson, and Richard Maltby among others. Here’s the lineup: NOT MINE, WHY DON’T YOU DO RIGHT, YOU’RE EASY TO DANCE WITH and AFTER YOU’VE GONE feature Peggy Lee. Two cuts have vocalization by Goodman himself, but despite that the band is excellent: OH, BABY and PUT THAT KISS BACK WHERE YOU FOUND IT. The rest of the album has instrumental highlights such as DARKTOWN STRUTTER’S BALL - SIX FLATS UNFURNISHED - MISSION TO MOSCOW - CLARINADE - FASCINATING RHYTHM - LUCKY - RATTLE AND ROLL - SWING ANGEL - FLY-BY-NIGHT.

The five year period covered by this recording (1941-1946) was possibly the culmination of Benny Goodman’s career, according to clarinetist Kenny Davern. Add to the Goodman solo prowess the top arrangers and the absolutely wonderful technical recording sound, and this CD is a rare gem.

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

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(Tape or Staple Here) VOLUME LX BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1999 The younger generations are being exposed to the best of the bands through these releases, designed to capture their sales dollars, but the older generations benefit by updating their collections to include digitally re-mas­ tered original versions of cherished melodies. Who could ask for anything more? Available in record stores. SIDELIGHTS SIDELIGHTS are anecdotes from and about musi­ The Count & the Duke cians. The following comments were heard either at the 80th birthday party of tenor sax man Flip Phillips in A SENTIMENTAL MOOD, COTTONTAIL, MOOD 1995, or taken from an interview with him that same INDIGO and I’M JUST A LUCKY SO AND SO as year. Flip was born Joseph Edward Filipelli in New well as lesser-known Ellington compositions including York City, March 26, 1915. LOVE YOU MADLY, THE STAR-CROSSED LOV­ ERS and PARIS BLUES. Drummer Butch Miles keeps LESTER YOUNG Flip Phillips used to regularly things moving. fix Lester’s Young’s horn, for it seems there was always something mechanically wrong A total of a dozen selections comprising just under an with it. Every time Flip fixed Lester’s tenor, Lester hour of music. Should be at your record store. would give him a pair of cufflinks. After the fourth pair, however, Flip told him he really didn’t need to do that THE FABULOUS BIG BAND COLLECTION anymore. Lester replied, “Then we’ll just open a fixit RCA Victor 63119 shop! JACK SHELDON Trumpeter Jack Sheldon, who The subtitle of this CD is: “The best of the biggest, might be most recently recalled baddest bands ever! ” This is another of those collections for playing the wartime bandleader in Bette Midler’s from RCA Victor, presented to the younger group of movie, FOR THE BOYS, had a snide commentât Flip’s swingers, but benefiting those of us who grew up in the party. He said, “Flip Phillips is probably the best tenor Big Band Era. You might have all the selections on this sax man alive now that Freddy Martin is dead!” CD, for they’re all highly familiar, but seldom do you get so many top bands and outstanding hits in one album WOODY HERMAN Flip Phillips, who was bom with over sixty minutes of music, recorded between Joseph Edward Filipelli, was 1937 and 1976. suggested by pianist Ralph Bums as a candidate for the Woody Herman orchestra, being re-organized in 1944. ’s OPUS ONE and THIS LOVE OF At their first meeting, supposed to be an audition of MINE with Sinatra, Artie Shaw’s BEGIN THE Flip’s talents, Woody said, “I understand you’re an BEGUINE and CONCERTO FOR CLARINET, Glenn Italian. Say something in Italian.” Miller’s PENNSYLVANIA 6-5000 and , Lionel Hampton’s JIVIN’ THE VIBES, Erskine “Vido Musso” Flip said. Woody responded, “You’re Hawkin’s TIPPIN’ IN, Duke Ellington’s IT DON’T in!” MEAN A THING and TAKE THE A TRAIN, Count Basie’s ONE O’CLOCK BOOGIE, Benny Goodman’s REMINDER: BIG BANDJUMPand the companion program SING, SING, SING (the studio version) plus AND THE DON KENNEDY SHOW are repeated after broadcast THE ANGELS SING, ’s CHEROKEE at WWW.BROADCAST.COM/RADIO/CLASSICS. We’re and Woody Herman’s elongated FOUR BROTHERS also available on E-Mail: [email protected]. from his 1976 40th anniversary concert at . 7 VOLUME LX BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1999

THE CRUISE NEWS Possibly the most successful BIG BAND JUMP cruise in the decade we’ve been doing them was the November 21 st week on the s/s Norway. Nearly 400 Big Band fans (shown in the picture) danced to the music of Larry Elgart, , the Harry James Orchestra directed by Art Depew and Bob Wilber’s salute to Benny Goodman. Two BBJ Cruises will be available in the Fall of 1999. Five Big Bands will be on the Queen Elizabeth II: and Larry Elgart will be there in person with their orchestras, plus the band of Jimmy Dorsey, led by Jim Miller, Bob Wilber’s Benny Goodman tribute and the music of , presented by Ray Anthony. The QE2 leaves Miami October 23,1999 for a ten day cruise in the Caribbean, including a visit to the Panama Canal. On the s/s Norway, it’ll be a seven day cruise departing November 27,1999, visiting the islands of St. Marteen, St. John, St. Thomas and Great Stirrup Cay. On board will be the Guy Lombardo Orchestra directed by A1 Pierson, Terry Meyers salute to Benny Goodman, the Artie Shaw Orchestra and in person, Tex Beneke.

Fes- details and a brochure on either or both cruises, please M r & Mrs. Tex Beneke posing on the phone cruise expert Jan Rodgers toll-free at 1-800-666-1988. November, 1998 s/s Norway BBJ cruise. 8 VOLUME LX BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1999 to do just that.... bring out some key phrases of songs you LYRIC TRIVIA QUIZ might have temporarily forgotten. Here’s a hint: all We did this before some years ago, these songs were introduced in Fred and it was so much fun we’re Astaire movies. going to do it again, but with dif­ ferent songs. We don’t realize Please match the phrases on the left how much words of songs become with the song titles on the right, and a part of our being, hidden back best of luck to you! As always, an­ there in the deep recesses of our swers are elsewhere in this issue. Don’t brains, just waiting to be brought peek, please, or you won’t be able to out by a familiar melody or a key watch AMC anymore. phrase. This quiz has been planned Bing Crosby sings and Fred Astaire listens

PHRASE SONG TITLE 1 ...can’t go wrong ‘cause I’m in right. A) THAT’S ENTERTAINMENT 2 ...you’ve got a kiss that conquers. B) DANCING IN THE DARK 3 ...puttin’ in the shirt studs, polishin’ my nails. C)CHEEK TO CHEEK 4 ...looking for the light of a new love. D) STEPPIN’ OUT WITH MY BABY 5 ...when Edison recorded sound. E) I CONCENTRATE ON YOU 6 ...to prove that even wise men can be wrong.... F) PUTTIN’ ON THE RITZ 7 ...the lure of you... G) THEY ALL LAUGHED 8 ...as we sing this finale... H) WHO CARES 9 ...white spats and lots of dollars... J) ALL OF YOU 10 ...my heart beats so that I can hardly speak... K) TOP HAT, WHITE TIE & TAILS SIDEMAN MINI-BIO Piano man Joe Sullivan was bom at the right time in the right place to become a musician. The place was Chicago; the time was the turn of the century (1906) when the influence of New Orleans’ music was creating a new kind of Chicago jazz. Sullivan’s basic musical education came from two very different sources.... but both equally valuable. He attended the Chicago Conser­ vatory for two years, then went on the vaudeville circuit, each experience honing what was to become an easily distinguishable style. When Joe Sullivan found permanent work in the city, he played with such top names as Red McKenzie and Eddie Condon, and is best-known generally for his work with the orchestra beginning in 1936. LITTLE ROCK GETAWAY and GIN MILL BLUES are the two compositions most identifying him with the Crosby band. He continued to work into the early sixties, making records with various groups. Sullivan was strongly influenced by the piano style of Fats Waller. Joseph Michael Sullivan died in October of 1971 in San Franciso, where he had been earlier working as intermis­ The masterful Joe Sullivan sion pianist at the Club Hangover. 9 VOLUME LX BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1999 going on at the VALENCIA, which up to that time THE VALENCIA BALLROOM depended only on local patrons. The addition of air York, Pennsylvania conditioning in 1931 didn’t hurt attendance, either, and the VALENCIA in their 1939 yearbook claimed to be Every once in a while this newsletter will publish the the first air conditioned ballroom in the nation. The profile of a ballroom of the Big Band days. advertising and the air conditioning worked so well in interesting dancers over a wide area, the ballroom had to be expanded in 1934, when Mai Hallett and his orchestra formally opened the enlarged facility in October of that year. The VALENCIA 1939 yearbook published pictures of the bandleaders who appeared there over the first ten years of its existance, and they include all the greats: Tommy Dorsey, , Larry Clinton, Jimmy Dorsey, the Casa Loma Orchestra, Horace Heidt, Phil Harris, , Fletcher Henderson, Jimmy Joy, Art Kassel, Hal Kemp, Sammy Kaye, Andy Kirk, Ted Lewis, Guy Lombardo, Vincent Lopez, Jimmie Lunceford, Glenn Miller, Clyde McCoy.... they were all part of the first ten year history of this remarkable ballroom, located in a fairly low population area, but The Valencia in 1934 pulling patrons from as far away as two hundred miles. Not many ballrooms issued a yearbook, but the By 1959, twenty years after the yearbook was published VALENCIA in York, Pennsylvania did. The year was with glowing reports of crowds, top orchestras, massive 1939, the tenth anniversary of the opening of the ball­ air conditioning and huge capacity, the productive life of room, which boasted enough table space to accomodate the VALENCIA was over. Ithoused a church in the late 1,000 people at a time. The yearbook told of the ’80s, and according to the police department in Y ork, the beginnings of the ballroom under other owners as early building is still standing, being used by an unnamed as 1911. In 1928 the Tassia family the building, group. It was bom as the VALENCIA some 70 years planning to make an ice house out of it, but that plan fell ago, and apparently is still being used.... but the days of through and the family decided to resume operation as dancing to top Big Bands at the VALENCIA in York, a dance palace. Pennsylvania are over. That operation was leased out in a ten year agreement with a man from Philadelphia, but despite fair crowds (and unknown orchestras) he couldn’t make expenses. The very night Kay Kyser appeared at the VALENCIA was the night the lease agreement was nullified by mutual consent, with Kay acting as a witness. The owners decided to present the greatest attractions in America, and followed through with Jan Garber’s or­ chestra appearing on Saturday, March 16, 1929, the first weekend of operation by the owners of the building, the Tassia family. Even with the top names in Big Bandom at the time, the attendance was disappointing, so advertising was pur­ chased over a large area to let dancers know what was The VALENCIA’S main ballroom 10 VOLUME LX BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY1999

famous trumpet players, and a few not so well known. UPCOMING BBJ PROGRAM TITLES Our attempt here is to mix in the lesser-known with the January 2-3,1999 (Repeat listing for the benefit well-known, so we’ll have some familiar ground to cling DANCE PARTY ofnew subscribers.) Often the to while still being able to stretch our appreciation to Big Band melodies we high­ some of the relatively unknown soloists. light are for listening only, not for dancing, but on this program every tune will be danceable, with January 23-24,1999 Another pro- some orchestra featured which would sel­ THE TROMBONE gram that dom be otherwise heard. For example, PLAYERS was done a there’ll be some , a touch of decade ago, Lester Lanin, a visitation with Guy now being re-visited with a fresh outlook Lombardo and a time or two from Russ these years later. We’ll hear, of course, Morgan and his son Jack. The ever many of the people we highlighted in the danceable Ray Anthony will be represented, original program, such as Will Bradley, as will Glenn Miller, whose prime strength Glenn Miller, Tommy Dorsey, Jack Jenney was in appealing to dancers while also and Jack Teagarden, for they cannot be left making the music interesting to hear. out of any program of trombone players, but we’ll endeavor to add some other names The supposition here is thattheNewYear’s to the list, both leaders and sidemen. celebration will continue into the weekend and if you’re not dancing you might just enjoy hearing melodies with January 30-31,1999 Alto sax player, bandleader a consistent beat that appeal to the feet. LARRY ELGART/ and record producer Larry REQUESTS Elgart talks about his relation­ January 9-10, 1999 It is not our habit to ship to his brother Les, the BOB HAGGART SPEAKS/ celebrate, or even genesis of the hand-clapping HOOKED ON SWING PIANO PLAYERS mention, death in this series of highly successful recordings ofthe ’ 80s, and the newsletter, but some future of music. He’s a man who is not only one of the contributors to the overall benefit of the Big Band Era top alto men in the world, but a knowledgeable record and beyond should be recalled, and bass player, com­ producer with the technical skill necessary to turn out a poser and arranger Bob Haggart is one of those con­ unique sound. We will, of course, hear some of the tributors. He not only composed WHAT’S NEW and HOOKED ON SWING recordings as well as the Les & SOUTH RAMPART STREET PARADE, the best Larry Elgart earlier , plus examples of known of his many works, but made enormous arrang­ Larry’s alto sax talents. ing contributions to the Bob Crosby orchestra, then continued until 1998 playing with various groups. We The second hour will be devoted to catching up on recall his comments and listen to his music. requests that’ve come in over the past few weeks. It’s our good fortune that there’s a variety demonstrated in In the second hour, we highlight some of the piano those requests, as well as some of the tried-and-true players who have over the years become household numbers that’re always welcome. names among Big Band aficionados. Eddie Heywood will be heard, certainly Duke Ellington, Count Basie February 6-7,1999 A Big Band enthusi- and Claude Thornhill, along with such disparate talents WARTIME JUKE BOX ast recalls the contents as Frankie Carle, Earl Hines and Stan Kenton. of the juke box at the college he attended. The actual recordings on a single January 16-17,1999 A BBJ program of the month or two might be blurred by time, but this program THE TRUMPET PLAYERS trumpet players was is, indeed, a collection of the records you would have presented years ago, heard had you been feeding nickels into the juke box but this is a fresh look at not only the same Big Band anywhere in the nation during the years of WWII. icons we investigated originally, but some of the other Jimmie Lunceford, for example, Bunny Berigan, Artie VOLUME LX BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1999

Shaw, JimmyandTommy Dorsey and Benny Goodman, more than that, the commercial pressures were either of course. The top tunes by the top bands, with some less or non-existant for transcriptions. Since the 16" King Cole Trio and Goodman Sextet small group transcriptions were made for use directly by radio numbers thrown in, just as they appeared onthe Wurlitzer. stations and the stations paid a subscription fee, the For kicks, we’ll even close the program with the sound artists could and did often record music they wanted to of a real wartime juke box being fed a nickel, the record. An experimental arrangement, for example, mechanism stirring to life, lifting the 78 and bringing it might be rejected by the executives of Victor, Columbia into contact with the tone arm. or Decca, but be perfectly acceptable on transcription. February 13-14,1999 Nearly every band Elliot Lawrence, Nat King Cole, and others THE SMALL GROUPS had a small group are planned to be heard, with surprises always expected within the band; Bob as we dig into the unyieldy but fascinating transcription Crosby had the Bobcats, Artie Shaw the Grammercy file, discovering discs we’d never heard before. Five (and sometimes six and seven), Benny Goodman had the trio, quartet, sextet and septet, Woody Herman March 6-7, 1999 A lady in Iowa wrote had the Woodchoppers, Etc. We dig into the files to find ROMANTIC RECORDS us to ask why we some of the small groups allied with Big Bands, as well didn’t play more as independent small group performers of the Big Band soothing music, and suggested we change the name of the program to fit such a broadcast. “Play more Era. romantic music,” she wrote. In answer to that letter, February 20-21, 1999 you’ll hear SATIN DOLL, SOPHISTICATED LADY, THE GIRL VOCALISTS YOU’VE CHANGED, , ONCE IN A WHILE, THERE I’VE SAID IT AGAIN, Excerpts of com­ AS LONG AS I’M DREAMING, VELVET MOON ments by Martha Tilton and others.... all with an eye to romantic endeavor; all by will form the basis for the Big Bands and vocalists from the Big Band Era. first part of the first hour of this program. After that, ANSWERS TO LYRIC TRIVIA QUIZ we’ll visit some ofthe other top Big Band girl vocalists 1- D STEPPIN’ OUT WITH MY BABY including the three Helens: 2- H WHO CARES Helen O’Connell, Helen 3- K TOP HAT, WHITE TIE & TAILS Forrest and Helen Ward. 4- B DANCING IN THE DARK We’ll hear from the three 5- G THEY ALL LAUGHED days, , Anita 6- E I CONCENTRATE ON YOU O’Day and Irene Daye, as June Chrjsty g|ows 7- J ALL OF YOU well as June Christy, Lena ______8- A THAT'S ENTERTAINMENT Home, Kitty Kallen, and others, as time 9- F PUTTIN’ON THE RITZ permits. 10- C CHEEK TO CHEEK How did you do? Seven to ten correct and you get to sing February 27-28,1999 A note from a listener with the backing of the Ralph Sharon Trio in front of TRANSCRIPTION FILE (see LETTERS TO thousands at the Hollywood Bowl. Four to six right answers THE EDITOR) en­ and you can perform at the end of the bar while the rest of couraged this hour, made up of selected cuts from those the patrons engage in private coversations. Three or fewer wonderful and often neglected transcriptions, yielding correct means you’ll have to write “Sometimes I wonder melodies either not heard before, or familiar melodies in why I spend those lonely nights....” on the blackboard one versions not heard. The freedom given artists in the hundred times. transcription studio was great, for they were able to record for longer periods than a 78 would allow, but E.M.S. 12 IT'S RENEWAL TIME FOR FIFTY-FIFTH ISSUE SUBSCRIBERS TO THE BBJ NEWSLETTER

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