BIG BAND JUMP NEWSLETTER BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE PAID Atlanta, GA 30355 Atlanta, GA Permit No. 2022 BIG BAND JUMP N EWSLETTER VOLUME XLII _____________ BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1996 WILLARD ALEXANDER INTERVIEW The Background Who, you might ask, is Willard Alexander, and why is he being interviewed in a Big Band publication? As head of WILLARD ALEXANDER, INC., an artist’s management group, he probably had more to do with the booking of Big Bands than any single person in the history of the Band business. We who listen to the Big Bands sometimes forget that it is a business, and to continue it must make money. To do that someone must assure the bandleaders consistent Willard Alexander & interviewer Richard Grudens bookings throughout the year. Payrolls must be met, arrangements must be paid for, transportation expenses, stand-fronts .... all expenses must be handled as the notably the Goodman ’38 concert background. We’re result of bookings .... bookings by such agencies as gratified to have even these few words from an icon of Willard Alexander. Big Band history. The WILLARD ALEXANDER, INC. agency faded The Interview away after its leader died in the early 80’s, and those who worked for him went their own way, some still BBJ: What brings you here tonight? representing Big Bands as bookers, most still in the music business in one way or another. WA: I always like to attend, if possible, a band booking on the first night. (He booked the The Scene Miller Orchestra at the time.) Interviewer Richard Grudens talked with Willard BBJ: How long have you been at this? Alexander in 1982, backstage at the Westbury Music Fair. Billy Eckstine was there, William B. Williams of WA: Well, I was an agent in business in Philadelphia WNEW fame, Margaret Whiting and Larry O’Brien, even when I was in college at the University of the leader ofthe current Glenn Miller Orchestra. Grudens Pennsylvania where I was a junior year student. I explained that the entire bunch wound up in the hallway majored in music, studied music, and followed musi­ just before showtime, and that was the first time he met cians. But then I joined MCA which was a growing Willard Alexander, who had been a Big Band booking agency in 1934, and of course it became the largest legend for years. “He was,” Grudens says, “a gentle­ agency in the business. I was there for six years then I man, although it was rumored that he was a tough resigned and founded the band department for the Wil­ cookie in the industry.” There were, Grudens points liam Morris Agency .... then I soon opened my own out, many interruptions during the few moments he was business which I still have today, which is the represen­ able to spend with Mr. Alexander, as friends passed by tation of many Big Bands, mostly. (The Alexander and groups of people filed in to see the show. For that Agency represented such bands as Goodman, Basie, and reason, only a couple of subjects were covered, most Ellington among many others.) VOLUME XLII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1996 BBJ: Do you see John Hammond as often as in the old selected the services of Sol Hurok, so I did the actual days? booking and Hurok the publicity .... you know, getting the word that modem jazz would be played at Carnegie WA: We get together occasionally, but he’s not Hall for the first time. It was the first jazz concert Hurok feeling too well these days. ever did, but his name carried weight in the field. BBJ: Was he ever an agent for anyone? BBJ: Were you sure it would work? WA: Oh, no. He just got the kicks out of it. He was WA: Yes! When you get as big and as hot and as a wealthy boy that just liked music, so he confident as Goodman was in those days, why supported it and was always bringing new faces he not? We felt we had a winner. Filling 2,800 seats was thought were good and promoted them. no great thing for a concert hall.... we were su re it would work. You know, it was a new approach. BBJ: Were you and he associated in any way back in the 30’s while you were an agent? BBJ: Would you say it was one of your great accomplishments? WA: Yes, we worked together with Benny Goodman. WA: Well, I had a lot to do with it, not all to do with BBJ: Wasn’t it Hammond who also discovered it, and Mr. Hurok had a lot to do with it. I Lionel Hampton? brought them together with Nathanson, but Benny was the key player because he could have done any concert WA: Gee, I really don’t know, but I don’t think so. When anywhere at the time and I’m sure it would have they formed a trio (Goodman, Krupa and Wilson) succeeded. We certainly couldn’t have done any better I know he wasn’t in the trio. But, I’m not sure, maybe he did. or been more successful. I guess I can say it was an important part of my career. Benny’s, too .... and BBJ: You represented Benny Goodman at the time of Hurok, and even Nathanson. the amazing 1938 Carnegie Hall Concert. The show began, bringing an abrupt end to the inter­ WA: Oh, sure! Believe it or not, it was very easy to view, an interview that could have extended to so many make bookings for the jazz bands at that time more subjects. Interviewer Grudens and Willard almost anywhere. They were becoming in great demand Alexander planned lunch to continue the interview, but at all the pavilions. Alexander died before arrangements were made. BBJ: How did you know the public at large was ready for that kind of music to be performed in such EARLY BBJ NEWSLETTER INTERVIEWS a blue-blooded place as Carnegie Hall? We receive letters from more recent subscribers sug­ WA: Well, we thought Benny’s name was known gesting that we reprint earlier Big Band Era personal­ well enough to try it. It was a guy named Win ity interviews they’ve missed. We present these con­ Nathanson, a public relations man who was working densed commentsfrom previously published material. with Benny who recommended we do a concert in Carnegie Hall, believingthe world was ready for Benny’s THE CHARLIE BARNET CAPSULE kind of stuff. You know, in those days there were few concert halls .... there was no Avery Fisher Hall or In the sixteenth issue of the BBJ NEWSLETTER in Lincoln Center. late 1991 we published an interview with Charlie Barnet, one o f the most innovative o f the bandleaders; BBJ: How did you get together and work it out? certainly one o f the most fascinating from a person­ ality standpoint. We repeat key parts o f that inter­ WA: Well, we all had something to do with it. We view, conducted just a few months before his death. 2 VOLUME XLII BIG BAND JUMP NEWSLETTER JANUARV-FEBRUARY 1996 actually had the parts memorized. BBJ: Would you say your big break came at the Famous Doorin ’39? Was that the beginning of the band we all recall? CB: That’s the one, yeah. That would be the place, and as far as I was concerned that was going to be it or forget it. The good thing about the Famous Door was you didn’t have to play for danc­ ing; therefore there wasn’t any question of tempos or volume or anything. It was strictly a jazz joint, and we were on the air every night. BBJ: Didn’t the audience at the Apollo Theater used to sing with your tenor solos? CB: That audience is the greatest. You haven’t lived until you’ve played for that audience. They were wonderful, and we used to play the Apollo three and four times a year. It became a place to look forward to. We always had a great following there. While you A young Charlie Barnet worked hard, you enjoyed it because that audience was so great. BB J: A lot of girl vocalists became famous with your band. BBJ: Is there any truth to the story that Victor executives really didn’t want to release CB: I guess the most famous one was Lena Horne, CHEROKEE? then we had Kay Starr and my favorite, Fran Warren. CB: Not really. The A&R man on the date, Leonard Joy, asked me when my birthday was. I told BB J: Frances Wayne sang with you, too, didn’t she? him and he said, “Well, you can have the master.” But he was wrong. CB: Yeah, that’s right, although she only made one record with me. She went over to Woody BBJ: And there was the story that you didn’t have a Herman with Ralph Bums. She married Neal Hefti there. soprano sax to record POMPTON TURN­ Unfortunately she died some time ago. Nice lady, too. PIKE after Billy May wrote it for a recording session. BBJ: There was that renowned 1939 Palomar fire. CB: Yeah, there were some hock shops on Eighth How did you operate after that without your Avenue and I got one right out of the window. music and instruments? B B J: There’s been some question whether your theme CB: Well, fortunately we got new instalments right was CHEROKEE or REDSKIN RHUMBA.