HIGHLIGHTS IN THIS ISSUE:

Woody Herman interview (Part Two)

Presorted Standard U.S. Postage PAID Atlanta, GA Permit No. 3259 JIMP NEWSLETTER

VO LU M E 111 BIG BAND JUMP NEWSLETTER JULY-AUGUST, 2007

INTERVIEW - (P art Tw o)

We continue the Woody Herman interview as con­ ducted over a number of years by Fred Hall, whose depth of experience in radio and music yielded a practiced look into Woody’s background. In the last issue Woody Herman talked about bassist Chubby Jackson at first rejecting the idea of Dave Tough joining the band, but enthusiastically endorsing him after hearing his work for a few days.

The question came up about the commercial radio exposure of the First Herd on network radio at a time when that was a valuable part of a band’s popularization

B B J: You were lucky, or maybe it was shrewd mana- gerial handling, to get some commercial radio shows, such as the “Wildroot” program.

WH: Well, this had to do with the agency as the people involved directly with the company were fans of the band, and that helped us a great deal. That made life a lot easier because the network couldn ’ t stand us, and the advertising agency wasn’t too happy with us. But the sponsor loved us, and his product WH: Some of them were off the top, you know. became number one while we were on the air for him. There was never any budget for writers so So he wasn’t too impressed with ratings and so on. consequently somebody who j ust happened to be stand­ ing around did the writing, and later it got worse when BBJ: You named a tune after the sponsor’s product. we got into the Wildroot thing because they would hire Who was on the program? people who wrote pretty well for Downbeat Magazine, but they certainly weren’t ready for radio, and we WH: Allan Jones, and at the time everyone felt it was waded through a lot of that. Finally we’d just throw the kind of a mismating of people, but we had lots stuff in the air and ad-lib as best we could. of fun on the show and I think Red Barber, the announcer, who dealt in sports mostly, added a BBJ: The First Herd got going in that ’42 to ’44 time certain luster to the show and we managed to skim when the Musician’s Union stopped all re­ by pretty well. cording. You switched to the Columbia label during that time. BBJ: Was all the dialogue on that show written or was some of it ad-libbed? WH: Yeah, we started recording again in late ’44 in a church on 30th street, an old cathedral, and it VOLUME 111 BIG BAND JUMP NEWSLETTER JULY-AUGUST, 200T was the best natural recording sound I ever heard. That BBJ: You had great singers in the band. Was Mary was the reason I went with Columbia. Ann McCall with you twice?

BBJ: Did all hell break loose when those records WH: Yes, first in “The Band That Played The Blues” began to appear? and later in the First Herd and even in the Second Herd. Three times, I guess you would say. WH: Yeah, some of it was very resentful and some of it was great. We were latching on to a lot of BBJ: She came back for your 40lh Anniversary new listeners that just discovered us then, but the older Concert. Tell us about that. listeners were sometimes turned off by it because they thought we were becoming too rambunctious, I guess. WH: Well, I think that’s one of the high points of my entire musical life, and the fact that for the first BBJ: How long did the First Herd go on? time, I think ever, we had a lovely reception after the concert. RCA Victor and combined WH: The First Herd lasted until the end of ’46 and forces and threw a party for the guests and our band, and then we broke up the band and I came home. everyone who’d ever been through it, and it was We had just moved into this place (in ) in probably the most lovely, wild reception I’ve ever the summer before and I hadn’t spent any time here and been involved in. To have the two major labels my daughter was beginning to grow a little, and it combine their resources for this party was, I thought, seemed necessary to be home. I lasted for about seven sensational. months (during which time he was a disk jockey in L.A.) and then I put together another band which BBJ: You got a lot of veterans to come back and play became the bebop band later. with the current young members.

BBJ: That was a strange period. Even Benny WH: They were utterly amazed at what the young Goodman tried bebop for a while, not very kids can do today. For instance, I had my band successfully. of 15 players. Nine were graduates of the Eastman School in Rochester, New York. Of the nine graduates, WH: Everybody did, but as Dizzy said there was five have their masters, so they’re very well prepared to only one band that played bebop that made play anything I want to play. any sense, and that was our band. So I guess we could be commended for that if nothing else. But I think we BBJ: We skipped over the small groups. came up with a couple of sounds that helped and still remain. The first one was FOUR BROTHERS which WH: Yeah, we had the Woodchoppers which was a was a new combination of put together, seven piece group, and the Chips, which was three tenors and a baritone, and we had some very clarinet and rhythm section. And then years later I did talented, bright young people. that again. Then there were other groups, a group I took to Las V egas for a number of months, ‘ cause very often was then 19 or 20, and was maybe I worked as a small group to refinance the band. That 21, and was a very young man from was the reasoning. Boston, a baritone player. And the other tenor player was a youngster who went back to his first love, which BBJ: We haven’t mentioned Frances Wayne, an was playing the alto, Herbie Steward. When he left a excellent singer. lot of other guys came through, including J immy Giufff e, who wrote the tune. And then the next important thing, WH: No. She was a very excellent singer and a I think, is when we moved over to Capitol and Ralph lovely lady, and Mrs. Neal Hefti eventually. Bums wrote EARLY AUTUMN. That was the begin­ My favorite record by her would have to be HAPPI­ ning of a new era of certain sound. NESS IS A THING CALLED JOE.

2 VOLUME 111 BIG BAND JUMP NEWSLETTER JULY-AUGUST, 2007

This excerpt of the Fred Hall Woody Herman interview came from Fred H all’s wonderful book, “Dialogues In Swing” available at www.swing- tiling.co?n. Again, our thanks to Tim Hall for his permission to use this valuable material. LETTERS TO THE EDITOR

Letters to BIG BAND JUMP or the BBJ NEWS­ LETTER may be sent to the address below, or e-mailed to: [email protected]. When you Wayne & Hefti e-mail, please give your name and address. All letters are answered, but the volume of mail BB J: How about your singing? sometimes delays a timely response.

WH: Well, I’ve never really been a fan ofmy singing BBJ NEWSLETTER at all. I do it if I feel I can read a lyric and get Box 52252 something from it, or enhance what we’re doing musi­ Atlanta, GA 30355 cally, but it’s not because I think I can sing at all. The published letters have been edited for space BBJ: Records you have a special fondness for over considerations, but the meaning has been preserved. the years? Kathleen Brandt I was stunned at the letter in Sacramento, CA the May-June issue asserting WH: Well, I think the things I admire and feel proud that “sounds the I was a part of were mostly concerned with same on every selection with practically no tonal varia­ Ralph Bums and some of the guys who went through tion, no emphasis.. .he’s as bland as margarine spread my bands. For instance, when I think of Bill Harris, I with a very broad knife.” What?! Dick Haymes was the think of BIJOU which was written by Ralph Bums. quintessential big band singer, second only to the When I think of or any of the players that incomparable in crooning love ballads. went through that era of my bands I have to think of Haymes’ exquisitely smooth voice was like Dom Ralph Bums because I think they’re best performances Perignon poured over virgin silk. Bland as margarine came through the efforts of Ralph. I think that Stan indeed! Getz would never have reached the heights he has if he had not played EARLY AUTUMN and been given that Toby Hardwick, Jr. I am flabbergasted at the vi- opportunity by Ralph. So I have a great deal of San Francisco, CA cious anti-Dick Haymes let­ allegiance and fondness and love for Ralph Bums. ter in the 110 issue of the BBJ NEWSLETTER. I am equally amazed that the editors BBJ: Any regrets? Are you glad about your 45 years would publish such vile, vituperative nonsense aimed on the road? at one of the best singers of any genre of the 20th century. No singer, male or female, ever caressed a WH: Yeah, I dig pain! (Laughter here) Well, the romantic lyric with more warmth and conviction than truth of the matter is if I had to do it all over Dick Haymes. again I probably would do it pretty much the same Gerry Selman I should like to express my way. I have had a good, successful career and I have West Palm Beach, FL personal views on the voice enjoyed most of it, believe me. of Dick Haymes. The 1940s clearly belonged to Dick Haymes. He was in his prime,

3 VOLUME 111 BIG BAND JUMP NEWSLETTER JULY-AUGUST, 2007 including several movies. Of the 1940’s , tune written by Gordon Jenkins was played with neither Crosby, Sinatra or Como had the vocal quality emotional depth on this ‘live’ concert CD by of Haymes on low notes. His range and power were Marshal Royal, long-time band directorfor Count unique, and his good looks didn’t hurt him either. I Basie. The CD was released in 1989 or ’90 and must take issue with your letter writer who said Haymes apparently has been cut from the Concord cata­ was never in a league with Sinatra. He definitely was. log. The tune itself is remindful of a story that’s told in the feature ‘‘The Song Stories ” in We tried to keep out of this one, letting the this issue. comments in the original letter last issue spark reader reaction. That reaction made the valid Fred Wasser I heard your “LP” show on point about Haymes ’ superior vocal talent. The Chapel Hill, NC XM channel four while we letter also encouraged the comment below which were eating a late dinner and opens up a new controversy. The parenthetical enjoyed it very much, especially the comment and underlining are the letter writers. and Jack Jones tunes. Thanks very much for “Big Band We ’ll stay out of it and hope the tabloid nature of Jump.” Lots of fun. such letters diminish with time. Mr. Wasser was referring to a BBJ based on Wayne Frake selections all from the LP file in the back room. San Simeon, CA He does a program each Saturday from Noon to 1 PM Eastern on a Chapel Hill community radio A writer in the May- station which may be accessed through his web June newsletter wonders site at www.BreathingRoomRadio.com. why Dick Haymes was “never regarded in a John O. Sponsler Letter in newsletter 110; May- league with Sinatra or North Baltimore, OH June, ’07 asked about MY Bennett.” Very simple. CANARY HAS CIRCLES Sinatra sang in the very UNDER HIS EYES. This tune is sung by Eddie Erickson big leagues, Haymes on the B.E.D. CD titled “Bedlam” on the Blue Swing sang in the big leagues Recording label dated 2004. Becky Kilgore, Eddie and Tony Bennett sang Erickson and Dan Barrett are an excellent small group. (and still does) in the Barrett is one of the best trombonists today. bush leagues. I don’t Tony smiles before mean to start a big con­ We discovered the B.E.D. referred to in the letter reading this letter troversy in your letters stood for the three major players in the group, column, butHaymes was Becky, Eddie and Dan along with bassist Joel a vastly better singer than Bennett. No contest. Forbes. They’re at: www.BlueSwing.com Mary DeFillippio Listening to BIG BAND Wheeling, WV JUMP on Saturday the 12th of THE SONG STORIES May on WBBDI heard a sax solo by Marvin Royal. The song was “All I Ask.” I Many o f the following stories have been told as part would like to obtain a copy of this particular item. o f BBJ radio programs, but none have, to our recol­ lection, been printed in this newsletter. What a disappointment to not only discover the Frank Wess-Harry Edison Band's salute to Count A broadcast challenge resulted in a song which gained Basie CD is not only missing from the Concord a permanent position as an all-time song hit. It was web site, but a phone call to them yielded the January of 1939 and lyric writer/singer question, “Who is Frank Wess? Did you say had just joined the Camel Caravan Harry Edson? ” THIS IS ALL I ASK, the poignant broadcast. Goodman trumpeter Ziggy Elman had gained 4 VOLUME 111 BIG BAND JUMP NEWSLETTER JULY-AUGUST, 2007 some popularity on his own with a recording of an saw a crudely written sign on a building site. The exact instrumental he’d written titled “Froelich In Swing,” wording of the sign has been lost in time but it said based on a Jewish folk song. Goodman challenged something like, “Pretty girls - walk slow by here.” By Mercer to come up with lyrics and on the Camel the next day Gordon Jenkins had taken that rough sign Caravan broadcast ten days later those words were and turned it into THIS IS ALL I ASK, a song of deep performed by as Ziggy Elman re-created meaning. “Beautiful girl, walk a little slower when you the trumpet pyrotechnics of the original instrumental as walk by me.” part of the vocal arrangement. AND THE ANGELS SING was the new title, a song that’s become a perma­ A cheeky teen-age kid talked his way into Harry James’ nent part of the Mercer musical legacy. dressing room when James was playing in Chicago. The Harry James Band was new then, and the kid must have figured it would be easier to convince a new bandleader to record his song, one composed entirely by him, both words and music. Harry James, who not only played trumpet but was also a drummer, must have been fascinated with the young man, who told James he also played drums... .and had been singing since he was five years old. For a teen-age youngster to have written such mature lyrics about a lost love seemed unusual, but the song appealed to Harry James, and so did the youthful composer. Harry James had the song arranged for his orchestra and his new singer, Dick Haymes, recorded it. LAMENT TO LOVE was an appealing recording and its composer, Mel Tonne, went on to Butterfield plays fame, both as a writer and a singer.

Composer/bass player Bob Haggart recalled the story Drummer Ray McKinley had a habit of shouting strange behind the birth of another song beginning its life as a phrases in the middle of Big Band arrangements. He trumpet solo, then finding a solid position of promi­ did that in the middle of ’s JOHN SIL­ nence in the American songbook. The Bob Crosby VER, for example. When McKinley and Will Bradley Band was appearing at Chicago’s Blackhawk when got together in the late ‘30s to form their own band, a trumpeter Billy Butterfield and Haggart worked out the boogie-woogie piano craze was in progress. Freddie basis for a solo feature for Butterfield to spotlight his Slack, the piano player with the Bradley-McKinley smooth tone. I’M FREE was recorded in 1938 on Band and drummer Ray used to wonder what a boogie Decca and caused such a sensation among music lovers tune would sound like played by their band. The band across the nation that wanted to record it, was appearing at New York City’s Famous Door when but obviously could not until lyrics were attached to the the band was playing a boogie tune with a title long melody. Writer Johnny Burke, working for Crosby at forgotten. At what was supposed to be a drum break, the time, matched a perfect set of lyrics to I’M FREE, Ray McKinley suddenly shouted, “Beat me daddy, transforming the song’s title to WH AT’S NEW. Those eight to the bar!” The phrase, referring to the eight lyrics have been sung by every prominent vocalist since beats per measure in boogie-woogie, came from no­ then and continue to be often recorded today. where, but appealed to song writers Hughie Prince and who asked permission to write a song based Perhaps the most emotional and beauti ful combination on that line. BEAT ME DADDY filled both sides of a of melody and words ever written by composer/con- 78 to became the biggest hit ever for the short-lived ductor Gordon Jenkins came about as the result of a Bradley-McKinley Orchestra, and certainly one of the dare. The story goes that Jenkins was at a party when most recalled boogie recordings of all time. some of the assembled gang challenged him to write a hit song overnight. On his way home from the party he One of the most enduring and broadly popular of all­

5 VOLUME 111 BIG BAND JUMP NEWSLETTER JULY-AUGUST, 2007 time American song hits isn’t American at all, even This new four CD set also includes a single DVD though its English lyrics brought the rollicking melody allowing you to see the Sinatra interaction with his fans, to prominence. “Skoda Lasky” was written by three but the value of the set is fully contained in the audio Czechoslovakians in 1934 and was extremely popular recordings. If anyone needs to be convinced of Sinatra ’ s not only in the composer’s home country but in neigh­ roots, they need only to hear the songs backed by boring Germany. The melody was so well received in the solid Count Basie band, conducted by a young Europe that it was imported to the in Quincy Jones. Jones carries on the Basie tradition of 1939. Lyricist Lew Brown put words to “Skoda “less is more” and Frank Sinatra becomes part of the Lasky,” creating a lyric and a title known to millions band, his lyrics woven into the accompaniment with through the years and in areas of the country where the skill and reverence. polka is king, those words are still heard regularly. BEER BARREL POLKA is one of those tunes des­ If you are a Frank Sinatra fan, this set is one you should tined to be played as long as the polka exists, all over have in your collection. If you are a collector of Great the world. American Music, this set establishes the meaning of that phrase. The set comes with a sixty page carefully BOOKS & RECORDS TO CONSIDER crafted booklet. The CDs themselves are technically (3 admirable putting the listener in the audience with FRANK SINATRA: VEGAS intimacy and sonic faithfulness. For those of us who Reprise admire the instrumentation as well as the words, this collection is indispensable. The torch songs are there, too, with the passion of arrangements by such notable arrangers as the estimable , and Gordon Jenkins

With the rapid demise of neighborhood record stores, this collection is available most easily on the internet at: sinatrasongs.com or amazon.com. About $80.00.

SILVAN ZINGG - Boogie Woogie Trilogy

There’s so much satisfaction in discovering a young talent as accomplished as boogie-woogie pianist Silvan Zingg. Those of you who lived in the Big Band Era certainly recall Meade Lux Lewis and . Now, over half a century later this young man appears putting a boogie beat to ST. LOUIS BLUES, MAPLE LEAF RAG and JAVA. As you well know, everyone cannot successfully play boogie-woogie, let alone adapt known melodies to that form, but Silvan Zingg does it well, injecting some surprises along the way while The immediacy and thrill of a ‘live’ performance keeping the beat unrelenting and strong. cannot be duplicated in the studio. A studio recording is done and re-done to perfection, and as such is a The shock of listening to this CD for the first time comes tribute to excellence, but the excitement and emotion with hearing normally ballad material injected with a of a performance in front of an audience is unexcelled, strong beat. CIRIBIRIBIN, a melody based on an for the performer is energized by their presence. Such Italian folk song, is played in languid tempo in its is the appeal of a new Sinatra set of 88 performances original form. The same is true, of course, of SEN­ from the Sands, Caesar’s Palace and the Golden Nug­ TIMENTAL JOURNEY. With the Silvan Zingg treat- get between 1961 and 1987. 6 (Please fold on dotted line)

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A new MARTHA TILTON two CD sec has been released, containing forty-nine (49) songs taken From archival radio broadcasts with the Denny Goodman Dand. What a timely memorial to this elegant lady who left us a few months ago.

The special price of $29.00 INCLUDES FREE shipping and handling! Phone 1 -6 0 0 - 377-0022 to order, or use this sheet, filling in the information below. You'll note in the track list such legendary songs as LOCH LOMAND, AND THE ANGELS SING, JEEPER5-CREEPER5, THAT OLD FEELING, ONCE IN A WHILE, IN THE STILL OF THE NIGHT and THE LADY IS A TRAMP. They're all in 'live' performance with the Goodman Orchestra.

Delow is the full list of songs you'll enjoy on this superb memorial CD set:

DISC 1 - ‘CAMEL CARAVAN’ Broadcasts With BENNY GOODMAN And His Orchestra 1. SAILBOAT IN THE MOONLIGHT 2- THE BAND 3. MAMA, THAT MOON IS HERE AGAIN 4. MARCH OF THE SWING PARADE 5. WHEN I GO A-DREAMIN’ 6. I'VE GOT A DATE WITH A DREAM 7. YOU GO TO MY HEAD 8. A-TISKET, A-TASKET 9 .1 USED TO BE COLOR BLIND 10. HURRY HOME 11. COULD BE 12. DEEP IN A DREAM 13. JEEPERS CREEPERS 14. MY HEART BELONGS TO DADDY 15. GOTTA GET SOME SHUT­ EYE 16. CUCKOO IN THE CLOCK 17. A HOME IN THE CLOUDS 18. YOU’RE A SWEET LITTLE HEADACHE 19. COULD BE 20. DEEP PURPLE 21. YOU TURNED THE TABLES ON ME 22. 1 GET ALONG WITHOUT YOU VERY WELL 23. GOODNIGHT MY LOVE 24. DON’T WORRY ‘BOUT ME 25. AND THE ANGELS SING.

DISC 2 - At the Madhattan Room, Hotel Pennsylvania, New York, 1937 with BENNY GOODMAN and His Orchestra 1. THAT OLD PEELING 2. THE MOON GOT IN MY EYES 3. I’D LIKE TO SEE SOME MO’ OF SAMOA 4. BOB WHITE 5. LOCH LOMOND 6. STARDUST ON THE MOON 7. SO MANY MEMORIES 8. ME, MYSELF AND I 9. AFRAID TO DREAM 10. YOU’RE MY DESIRE 11. YOURS AND MINE 12. THE LADY IS A TRAMP 13. FAREWELL, MY LOVE 14. YOU AND I KNOW 15. BLOSSOMS ON BROADWAY 16. ONCE IN A WHILE 17. YOU SHOWED ME THE WAY 18. IF IT’S THE LAST THING I DO 19. SWEET STRANGER 20. IN THE STILL OF THE NIGHT 21. YOU TOOK THE WORDS RIGHT OUT OF MY HEART 22.1 WANNA BE IN WINCHELL’S COLUMN 23. SWEET SOMEONE 24. ITS WONDERFUL

Order by phone at 1 -8 00 -37 7-0 02 2 or with check, Visa or MasterCard as below.

Please send me: Martha Tilton with Benny Goodman (Two CD Set) - $29.00 with FREE S & H

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In-person interviews with outstanding Big Band music personalities.

Reviews of books and records to consider for serious collectors of Big Band music and information.

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News about the men and women keeping the Big Band sound alive in the United States and throughout the world.

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(Tape or Staple Here) VOLUME 111 BIG BAND JUMP NEWSLETTER JULY-AUGUST, 2007

ment, both emerge numbers with swing, which until then had limited with a strong left public appeal. The Carnegie Hall Concert was another hand nearly obscur- step in acceptance of swing, this time by the social ing the melody, group used to hearing classical performances at the however neatly august Carnegie Hall. Not easy to imagine today, but placed between the booking the Goodman Band in Carnegie Hall for a pure beats. Nine of the sit-down concert was a vast financial risk in those days. sixteen tracks on There was no assurance anyone would show up. this CD are original compositions by The promoters needn’t have worried. By the time the Zingg. All exhibit date of the concert came, Benny Goodman himself a machine-like per­ couldn’t get last-minute tickets for members of his sistence. family. Overflow demand put some of the audience in seats on the stage. By the time the evening ended, Available at: another social barrier to swing was broken; swing was www.silvanzingg.info being talked about in all levels of society. Still today, Silvan Zingg the digitized CD version of that historic New York 1938 winter concert is in demand. But as the year rolled on, other events made their mark both musically and 1938 IN MUSIC historically.

This is a continuation of the “Years In Mu­ A then obscure radio actor who, despite his youth, had sic” series which began with 1947 and is formed a respected repertory group he called Mercury moving back year by year with each newslet­ Theater frightened all of America with a simulated ter issue. It is planned to continue through network radio news flash about Martians landing in 1935, the unofficial beginning of the general public acceptance of swing.

Three of the four Goodman Quartet members at Carnegie Hall

From both a calendar and a Big Band perspective the key element of 193 8 was the January 16th Carnegie Hall Benny Goodman Concert. Two years earlier, Good­ man’s Band had been the first to reach marketable The older Orson Welles

7 VOLUME 111 BIG BAND JUMP NEWSLETTER JULY-AUGUST, 2007

New Jersey. There was panic across the nation as the the same composing team was the witty SMALL FRY “news story” unfolded. Mercury Theater’s director, successfully recorded by Bing Crosby in tandem with Orson Welles, had to apologize to Johnny Mercer. In his role as a the public the next day. An avia­ lyricist, Mercer teamed with Harry tor named Douglas Corrigan will Warren to write JEEPERS forever be known as “Wrong CREEPERS. Way” Corrigan for saying he ’s output during the planned to fly from from Brook­ year included MY HEART BE­ lyn to Los Angeles in his light LONGS TO DADDY, intro­ plane, but wound up in Dublin, duced by a young Mary Martin on Ireland. the Broadway stage. Down the The Hit Parade led off the year street another show gave audi­ with the top song being ONCE IN ences their first exposure to SEP­ A WHILE, soon replaced with BEI MIR BIST DU TEMBER SONG, half spoken, half sung by Walter SCHON sung by three sisters from Minnesota. As Houston. baseball season approached, new bandleader Larry ONE O’CLOCK JUMP was popularized in 1938 as Clinton wrote a song about New York Giant’s pitcher hard-core band fans listened to the new sounds of the Carl Hubbell’s screwball he called THE DIPSY Count Basie Band, having moved from Kansas City to DOODLE, successfully recorded by New York City the year before. George Gershwin died and singer Edythe Wright. Clinton, however, had a top hit record of his own, the undisputed recording success in 1937, but two Gershwin Brothers love songs, LOVE of the year was MY REVERIE as arranged by Clinton IS HERE TO STAY and LOVE WALKED IN intro­ from a semi-classical Claude Debussy piece and sung duced in 1938 were destined to become a permanent by Bea Wain. A teen age kid who wanted to be a dancer part of American music. but won an amateur contest as a singer wrote and War clouds gathered over Europe in 1938 as a little recorded A-TISKET, A-TASKET in 1938. It was German dictator with a funny mustache invaded Aus­ much of the public’s first knowledge of vocalist Ella tria, but then British Prime Minister Neville Chamber- Fitzgerald. lain met with Hitler in Munich, returning from the A new star was bom in the motion picture “The Big meeting with a promise of “peace in our time.” Ameri­ Broadcast of 1938” THANKS FOR THE MEMORY can industry was humming and you could by a brand was sung by screen newcomer Bob Hope to Shirley new car for under $900.00; the minimum hourly wage Ross and the song became a hit that year. The big was set at twenty-five cents with a legislated rise to screen (there were no small screens then) re-introduced thirty cents the next year. Kids could get a free decoder ALEXANDER’S RAGTIME BAND in the movie of ring from radio’s Little Orphan Annie as their parents the same name. The tune was written by Irving Berlin listened to “Information Please.” Old Spice after-shave in 1911, but became a favorite again with its exposure was first marketed just before Christmas in 1938, in the movie theaters. “Test Pilot” and “Boy’s Town” destined to become a holiday gift item for years to along with “You Can’t Take It With You” became come. A fairly obscure song titled DAY AFTER DAY dramatic screen classics, but “Snow White” contrib­ (not to be confused with DAY BY DAY) was briefly uted two new songs, WHISTLE WHILE YOU WORK popular that year and was the inspiration for a new last and HEIGH HO, both finding a place on the charts that name for young Cincinnati singer Doris Kappelhoff. year. 1938 was, indeed, a very good year for America, both Hoagy Carmichael and Frank Loesser turned in the musically and historically as the Big Band Era ex­ durable TWO SLEEPY PEOPLE and HEART AND panded and the depression wound down. Young citi­ SOUL, hitting the record shelves and airwaves just zens were dancing, listening to the radio and attending before Christmas in 1938. Another late-year entry by the movies as peace for the United States seemed assured. 8 VOLUME 111 BIG BAND JUMP NEWSLETTER JULY-AUGUST, 2007

BBJ PROGRAM TRIVIA QUIZ (A) Woodchopper’sBall (B) Blue Flame (C) Chip’s Boogie (D) Caldonia We continue to use BBJ programs to suggest the questions in the 4 -The Band at one time employed a young Trivia Quiz, this drummer who doubled as a singer. Can you name him? time referring to the programs for (A) Mel Torme (B) Andy Russell (C) Spike Jones the weekends of (D) Buddy Clark 19-20 and 26-27 May. The subjects 5 - OPUS ONE was written by Tommy Dorsey were “Dance Band arranger Sy Oliver. With whom did he work before he Remotes” and joined the Dorsey Band? “The Gentlemen Sing.” Again we (A) Erskine Hawkins (B) GeneKrupa (C) use the multiple- (D) Jimmie Lunceford choice form to give every level of Big 6 - A trombone player who later became a bandleader Band enthusiast an Arranger Sy Oliver part of quiz was in the group that accompanied Frankie Laine in his opportunity to first hit record, THAT’S MY DESIRE. Who was he? come up with the answers. Some of the questions may be easy, others may pose more of a challenge, (A) Si Zentner (B) Will Bradley (C) Larry O’Brien but multiple choice provides an opportunity to (D) Bill Tole make an educated guess if the answer isn’t imme­ diately apparent. 7 - The durable Butch Stone who is best-known for his novelty vocals with Les Brown, also played an instru­ Six correct will gamer you a ‘B’ with eight correct ment in the Brown Band. It was: answers worthy of an “A’. The ‘A+’ category is reserved for those who correctly answer all ten ques­ (A) Trumpet (B) Drums (C) Sax (D) Trombone tions. As always the answers are in a box on the last page; please don’t prompt yourselves before you 8 - WHY TRY TO CHANGE ME NOW was the last finish the entire quiz in order to legitimately test record Frank Sinatra made for which record label? your knowledge. (A) Reprise (B) RCA Victor (C) Capitol (D) 1 - A gutsy trumpet solo was performed in a remote Columbia broadcast of the Miller Band as they played I DREAMT I DWELT IN HARLEM. Who played it? 9 - Johnny Mercer usually wrote only the lyrics, but (A) Billy Butterfield (B) Ziggy Elman (C) Billy May in a couple of instances wrote both the music and the (D) Chuck Peterson words. One such song was:

2 - During the short tenure of the Chico Marx Band a (A) Accentuate The Positive (B) Laura (C) That young drummer doubled as a singer. He was: Old Black Magic (D) G.I. Jive

(A) Mel Torme (B) Andy Russell (C) Spike Jones 10 - Singer Marjorie Hughes with Frankie Carle’s (D) Buddy Clark Orchestra was his:

3 - The long-time theme of the Woody Herman Band (A) Cousin (B) Daughter (C) Wife (D) Next dated to the band’s early days as “The Band That Plays door neighbor The Blues.” It was:

9 VOLUME 111 BIG BAND JUMP NEWSLETTER JULY-AUGUST, 2007

EDITORIAL - Oh, THAT station! Sinatra, Harry James, Benny Goodman, Tony Bennett station. By Hagen Williams Hagen Williams, our house curmudgeon, is at it again. Phone lady: (Holding her hand over the phone.) Joe, This time he talks about do we have some kind of station with program directors and/or standards, I think he said? station executives across the nation who have aban­ Program guy: (Yelling across the room.) Yeah, doned the so-called Adult that’s WXXXat 1590. Standards format. He is his usual contentious self. Phone lady, still holding hand over phone: Oh, THAT station.

In my role talking to radio And that’s precisely what most of the people working stations about carrying BBJ for the so-called cluster think of it. It’s virtually we naturally must seek out ignored except for maybe a weather forecast thrown in stations whose format will accept our program. There once in a while with the help of the computer so no one was a time when radio stations were not so tightly need be there except to record said forecast once a day. programmed, and there are still stations running spe­ Some of the more heads-up stations have a morning cialty programs on the weekends despite other pro­ man from 6 to 10 AM, usually a highly skilled broad­ gramming during the week, but not generally in larger caster who knows radio. After 10 AM the station goes to automation, depending on the computer to switch cities. from the 20 hour satellite service to the news network and back again. No one is at the station, and except for In most major markets two or three giant corporations the morning man, no one cares. own clusters of AM and FM stations operating in all formats. There are variances, of course, but typically, The executive attitude is: "Let’s do what everyone else the most powerful AM in the cluster carries all-talk, the does: we’ll get a consultant, hire two slightly off-color preferred FM features hour after hour of some form of folks to work the mornings, some loud-talkers in the pounding rock, the secondary FM is probably country afternoon and play the CDs everyone else has proved and maybe a third FM is ethnic programming. If the to be the most popular. No need to plow new ground, massive corporation owning the cluster bothers with is there?" Or is there? Adult Standard music at all (read that Great American Songbook) it will be on the weakest AM with the worst SIDELIGHTS-Humorous stories dial position programmed by a satellite service through about music and musicians a computer 24 hours a day. Reality is often not only humorous, but perplexing. If the station cluster’s phone is answered at all, here’s The following news story was passed on to us and the way the conversation goes: sounds like a Bob & Ray comedy routine. We disclaim any direct knowledge of the story: Hagen: Hi, this is Hagen Williams with BIG BAND JUMP in Atlanta. May I speak to the program Ames, Iowa - Mulford A. Barlow, an accountant for director of your Adult Standard Station? the Schneidemann Meat Packing Company and an amateur saxophonist, is suing the Selmer Musical Phone lady: We operate six radio stations. Which one Instrument Corporation for an undisclosed amount of do you mean? money for what he is terming “gross violations of an implied contract.” Hagen: The one that programs Adult Standards, the , Tommy Dorsey, Frank Mr. Barlow’s attorney, noted civil rights lawyer Ron

10 VOLUME 111 BIG BAND JUMP NEWSLETTER JULY-AUGUST, 2007

Kuby, stated their case in papers filed on 27 April, 2007 cals. It’s said he wrote over 400 songs for 90 movies with the 2nd Circuit Court of Central Iowa. In part, the stretching from 1928 (the year after sound movies complaint read: “In their glamorous print advertise­ began) through 1981. It was Warren who crafted the ments that feature beautiful women gazing longingly at music in the two Glenn Miller movies, including the men playing the , the Selmer Corporation now venerable and creates the expectation that all one has to do to gain the love ballads, I KNOW WHY and , Just favor with said beautiful women is to purchase and as we were, you’ll be surprised at the number of songs learn how to play one of their extremely expensive you know so well that were written by . saxophones”. After spending more than 6,000.00 dol­ His music and anecdotes about the music are on this lars on a Selmer Mark VII Eb Alto Saxophone and program. assorted accessories, as well as two years’ worth of July 21-22, 2007 There’s a saying about trying private lessons, my client, Mr. Barlow, is no closer to BOOGIE BEAT & to satisfy everyone and wind- going on his first date than the day he passed his CPA SINGING SINGLES ing up satisfying no one. exam.” Maybe that’s what’ll happen Mr. Barlow is said to have become disillusioned with on this BBJ session. We’re alternating some expected the saxophone and is giving it up to concentrate on the but always welcome boogie tunes with star vocalists. accordion. “There are some babes who go every night , Buddy Clark, Steve Lawrence, , to Polka Night at the local Moose Lodge,” said Mr. Kitty Kallen and will be on tap, but so will Barlow from his bachelor pad in his mother’s house. Ella Mae Morse, Ray McKinley and Irene Daye with a “Who knows, I might just get lucky.” boogie beat. Somehow it all works out to be a reason­ ably pleasing combination. UPCOMING BBJ PROGRAM TITLES July 28-29, 2007 This program comes THE TROMBONE PLAYERS under the category July 7-8, 2007 (Repeat listing for new sub- of every-person- SURPRISE PACKAGE scribers) Not long ago in an doesn’t-hear-every-show. Of course they don’t, and so audition mode we heard one when a listener phoned to ask us to do a program about of these “Surprise Pack­ trombone players we re­ age” BBJs from the ‘90s, viewed the program titles and we thought it might be and discovered it had been time to do another such pro­ four years since we did that. gram. In truth, the title is This program, then, will fea­ used when nothing is ture masters of that instru­ planned for a particular ment both as leaders and as weekend slot; often it re­ individual soloists. We’ll sults in a spontaneous pro­ hear from Tommy Dorsey, gram, sometimes an unre­ of course, but also from Jack lated combination of re­ Jenney, Si Zentner, Bill Har­ cordings. It’s always fun, ris, Buddy Morrow, Larry however as one tune leads BBJ host Don Kennedy O’Brien, Bill Watrous, Jack to another and background ------Teagarden, Andy Prior, Don stories also key off added thoughts. It’s always fun Lusher and Will Bradley. simply because of the variety such a lack of format There will even be a review J"romfc>onist Bill Watrous engenders. ofa Don Redman early‘30s ¡n ecstatic moment July 14-15, 2007 What a stunning list recording of I GOT RHYTHM with an enviable trom­ HARRY WARREN PROFILE of top songs came bone choir. What a list of trombone virtuosos! (See from the pen of Harry mention of Bill Harris in this issue’s Woody Herman Warren, who wrote most prolifically for movie musi­ interview.) 11 VOLUME 111 BIG BAND JUMP NEWSLETTER JULY-AUGUST, 2007

August 4-5, 2007 The subject of this program often. This program will, of course, touch on the THE IN-BOX used to be a regular one in the Dorseys, but you’ll also hear the Dinning Sisters, an BBJ schedule, but lately it’s excellent group. Lenny Dee will be included as will been more difficult to break out appropriate music from Sonny Dunham, Sam Donohue and Milton DeLugg new releases. The programs under this heading came directing the old Tonight Show Band from the years from the generous pile of CDs received here at the before Johnny Carson. Danny Davis, the Dukes of studio. When we moved our studio to a new location Dixieland and Frank DeVol all contribute to the musi­ back in February, we started a fresh, new in-box and cal amalgam. enough time has passed to selectively find some music September 1-2, 2007 When a listener first suggested that’ll fit into our format. The advantage of the in-box ANIMAL MUSIC/ we do a program consisting of is the introduction of some newnames plus oldernames CITY HOUR tunes with animal’s names in who’ve made fresh recordings. Please understand that the titles, we thought the idea some in-box CDs are re-issues of familiar performers, was a trifle far-out. The surprise is the variety that some are reasonably new, but all in Big Band and developed from the idea. The usual suspects are there, associated artist style. but also some titles apparently attached to recordings August 11-12, 2007 These BBJ programs go in on the spur of the moment by musicians. We won’t THE ‘F’ FILE cycles as do so much else in spoil the surprises in store by listing them, but you’ll life. For a while there we possibly discover some tunes you never heard before were concentrating on the alphabet to select our music, along with more predictable titles. programming an hour with artists whose names began While we’re in the same mode, the second hour is with a certain letter. It’s been a while since we’ve done devoted to tunes carrying the name of a city, another that and so this program will spotlight such names as frequent listener suggestion. Again, musicians often Flanagan, Fountain, Forrest, Fitzgerald and Faith. Even attached the names to otherwise unknown melodies, Arthur Fiedler gets into the act as does Eileen Farrell such as Count Basie’s RED BANK BOOGIE, named and Ferrante & Teicher. Please don’t let the Eileen for Basie’s New Jersey hometown. As you might Farrell frighten you; she performs pop songs very well, imagine, Chicago and New York are referenced me- with only a hint of diva tonality. Now that we’ve re­ lodically, but we also have music titled for more modest discovered alphabetical BBJs, there’s another below. cities such as Davenport, Iowa and Columbus, Georgia. August 18-19, 2007 Unlike today’s re- September 8-9, 2007 We’ve heard the OTHER BAND’S HITS cording environment, MILLER ALUMNI Glenn Miller record­ in the Big Band days ings frequently, but nearly everyone recorded hit tunes. There was, how­ this program deals with the men who actually created ever, one recording of each tune that was more popular the Miller music, the alumni of the Miller Band. For than the others. On this hour we listen to bands playing example, we follow the post-Miller careers of Tex the tunes most recalled by another band. Beneke, the Modemaires, , , will play BEGIN THE BEGUINE, Les and Larry and Billy May, all members of the Miller Elgart will present SKYLINER, Harry James will offer civilian orchestra. Arrangers and Bill CHERRY PINK. You’ll hear nearly two dozen tunes Finegan who went on to lead their own bands will be attributed to one band but played by another in this heard from as well as alumni from the Miller Military varied session. Orchestra including Ray McKinley, and August 25-26, 2007 One of these days the gang at . They all continued to create THE ‘D’ FILE BBJ will learn their ABCs, or music in their own ways as we follow each one’s in this instance, their ‘Ds’. later activities. Attacking programming from an alphabetical stand­ BBJ TRIVIA QUIZ ANSWERS point has always been a joy for in our search for artists whose names begin with a certain letter we inevitably 1 (C) - 2 (A) - 3 (B) - 4 (B) - 5 (D) discover some recordings that should be heard more 6(A) - 7(C) - 8(D) - 9(D) - 10(B)

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A trifle on the cheese-cake side, this is June Christy’s first publicity shot at age 19,