Saturday, December 23, 2017

1940's Christmas Traditions

Merry Christmas and Happy New Years everyone.

I have been a little lazy in posting new posts on the blog the last couple of months. As we wind up 2017, I thought I would catch up on the last couple of weeks. Last week, I started a two part show  that I call 1940's Christmas Traditions. Many of the ways we celebrate Christmas were started in the 1940's so I thought it would be interesting to learn how some of these traditions started. I am going to start the show with a segment from Franklyn D. Roosevelt's 1940 lighting of the Christmas tree speech and then we'll be into some big band holiday favorites. All the songs on Part 1 were recorded in the 1940's.

Today, we continue with  Part 2 of my 1940's Christmas Traditions show.  On the show today, I am going to be reading some Stocking Stuffers from the Associated Press. Stocking Stuffers is a series produced by the Associated Press that consists of about 50 segments on various holiday traditions. Each segment is about 10 to 15 sentences. It is very interesting and I hope you enjoy these segments as well as the music.  

I hope all the listeners and readers of this blog have a wonderful and safe holiday season. If you are in the Texarkana, Texas area remember to tune in Saturday nights at 10:00pm for Big Band Bash on KTXK Texarkana Fine Arts radio, 91.5 on the dial. Also, if you live in the Marion, Ohio area, Big Band Bash is broadcast Sunday mornings at 9:00am on WZMO radio.

Saturday, October 7, 2017

Your Hit Parade

A few years ago I did a series of programs on the radio show Your Hit Parade. The songs came from a ten CD set that I have. Each CD features the songs from a certain year that were featured on Your Hit Parade. There were more songs on the CD than I could play in an show so I have decided to revisit this set and pick out different songs. Each show combines two years so today's show will feature songs from the years of 1940 and 1941. We'll also learn the history of the radio show as we listen to some great songs. I hope you'll join me for a potpourri of songs as we begin the series Your Hit Parade Part 1. 

Here is a little bit about the show from web site www.otrcat.com:

It began in the mid-30s in New York, and was sponsored by Lucky Strike cigarettes in 1936. The catchy #1 tune concept was a "hit" of its own right from the start. "Goody Goody" was the first anniversary #1 tune…a perfect example of what a pop hit is. Al Goodman's orchestra played through the rest of the 1930s, with Mark Warnow's taking over in the 1940s. In July of 1941, the "Hut Sut Song" was a biggie. In July of '42, "Sleepy Lagoon." By this time, New York radio personality Martin Block took the host microphone, and introduced the singers and the songs.


A chorus called The Hit Paraders were always ready to backup the featured singers. At first the regulars were Barry Wood and Joan Edwards. In the spring of '43, a skinny New Jersey kid named Frank came on the show to stay for a while. Sinatra was probably the biggest draw that Lucky Strikes ever had! The bobbie-soxers had swooned over this guy, and listened avidly as he crooned the tunes. The show went on without
Frankie in 1945, with Lawrence Tibbett, then Dick Todd, and then Andy Russell doing the hits. Dinah Shore was on for a while, too. Then in 1947, Sinatra was back, and Beryl Davis took over the girl's part. Axel Stordahl and His Orchestra backed up. Sinatra fans will remember the wonderful records of Frankie made with Stordahl's arrangements and accompaniment. Many consider these among the very best, for it certainly was the most romantic and intimate of Sinatra's oeuvre. This collection of shows draws mainly from the 1940s, which was a very good time for this show, the heydays of the popular tune that drew on strong melodies and poetic lyrics…except for the occasional novelty tune like "The Woody Woodpecker Song."

Saturday, September 23, 2017

1941-1942 Time Life - The Swing Era Part 1

This week I going back to the past shows archive to play another program in the Time Life series. I am working on some new shows for the upcoming weeks and needed a little time to work on them. This week we highlight songs from the years of 1941 and 1942. These sets have been a listening favorite of mine since I discovered some of them at the library many years ago. The recreations were by the bands of Glenn Gray and Billy May with some of the original artists recreating their big hits. I thought it would be fun following the play order but instead of the recreations I am playing the originals if I could find it. I hope you enjoy this potpourri of songs from 1941-1942.

Here is the original cover from the vinyl set. 

Also, here is the set list from the 1941-1942 volume. I will be playing as many of the original recordings as I can


STL-346 - The Swing Era 1941-1942: Swing as a Way of Life - Billy May & His Orchestra/Glen Gray's Casa Loma Orchestra [1972] A String of Pearls/Don't Sit under the Apple Tree/Warm Valley/Swing Low, Sweet Chariot/Flying Home//Jersey Bounce/I Cried for You/Basic Boogie/Charleston Alley/Air Mail Special//9:20 Special/The Man I Love/Summit Ridge Drive/Aidos/Golden Wedding//Beyond the Blue Horizon/Chattanooga Choo Choo/Autumn Nocturne/Benny Glides Again//The Mole/A Smo-o-th One/Blue Flame/Well, Git It!/Perdido//Song of the Volga Boatman/Contrasts/Strictly Instrumental/Dancing in the Dark/American Patrol

For a complete listing of all the volumes in the Swing Era sets go to    http://www.bsnpubs.com/warner/time-life/04swing/04swing.html

Saturday, September 16, 2017

Helen Forrest - A 100th Birthday Salute

She was one of the greatest singers of the big band era. She sang with three of the most popular big bands. Her name is Helen Forrest and she was born on April 12, 1917. I missed her birthday back in April so today we are going to be listening to some of the many sides that Helen recorded with Artie Shaw, Benny Goodman, and Harry James. When she left the James band Helen went on to a very successful solo career. She died in 1999. I hope you enjoy this birthday salute to the great Helen Forrest. Tune in tonight for Big Band Bash only on KTXK stereo 91.5 Texarkana Fine Arts Radio. Sign up for the Big Band Bash podcast on ITunes if you can't tune in or listen on line at TuneIn.com.
Thanks so much for listening.

Here is a short biography of Helen from Allmusic.com:


One of the more popular big-band-era singers, a performer that some might not consider a jazz vocalist, but one with exceptional ability to project lyrics and also an excellent interpreter. Forrest used several names early in her career, among them the Blue Lady and Bonnie Blue.
She began singing in her brother's band in Washington, D.C., then was featured in Artie Shaw's band after Billie Holiday left in 1938. Forrest joined Benny Goodman when Shaw disbanded in 1939, staying until 1941. She recorded with Nat King Cole's trio and Lionel Hampton in 1940, then began to score hits working with the Harry James orchestra. During the early '40s, she had string of successes. Later she teamed with Dick Haymes on his radio show and on six duets that were big hits. Forrest cut back her activity in the '50s, then sang with Tommy Dorsey's Orchestra led by Sam Donahue in the early '60s. She continued to work on the club circut in the '70s and '80s, making a new album for Stash in 1983. Forrest died July 11, 1999 at age 82.
 Go to https://en.wikipedia.org/wiki/Helen_Forrest for a more complete biography as well as a listing of charted singles.





Saturday, September 9, 2017

Larry Elgart - A Tribute

We lost another Big Band leader a few weeks ago. Larry Elgart was 95 when he passed away at his home in Florida. Larry, who led a big band with his brother, was a fine alto saxophonist and composer. He had a big hit in 1982 with a medley of big band hits set to a disco beat. It was called Hooked On Swing, a companion piece to Hooked on Classics. I'll be playing one of these selections at the close of the show.

Here's a little background about Larry from his New York Times obituary:

Larry Elgart, a bandleader who, with his brother, Les, recorded the theme song for the long-running television dance show “American Bandstand,” and who later scored a surprise hit with “Hooked on Swing,” a medley of swing classics set to a disco beat, died on Tuesday in Sarasota Fla. He was 95.
The death was confirmed by his wife, Lynn Elgart.

After playing alto saxophone with Woody Herman, Tommy Dorsey and other bands, Mr. Elgart teamed up with Les, his older brother, to record a series of successful albums for Columbia that brought swing music into the 1950s and beyond.

Taking advantage of advances in recording technology, he developed a distinctive “Elgart sound, which emphasized tight choreography between the silky-smooth saxophone section and the rich, brilliant horns, to which he added two bass trombones. He lightened up the rhythm section, replacing piano with guitar, and cut back on improvised solos.

“The end result was a conversation,” Mr. Elgart wrote in a memoir, “The Music Business & the Monkey Business” (2014), written with his wife. “The saxes spoke and the brass answered, then they all talked together. Having no doubles with clarinets, flutes, etc., in the reed section, the band had even more clarity.”

The album “Sophisticated Swing was released in 1953, with the band touted as “America’s College Prom Favorite.” The Les Elgart Orchestra, renamed the Les and Larry Elgart Orchestra two years later, found a lucrative niche performing at school dances, a role reflected in their albums “Prom Date” (1954) and “Campus Hop” (1954).

In 1954, while touring the country to promote their records, the brothers met Bob Horn, the host of “Bandstand,” a teenage dance show in Philadelphia. Les Elgart proposed that the brothers record a theme song. “Bandstand Boogie” was the result. Two years later, Dick Clark took over as host of the renamed “American Bandstand,” and ABC picked up the show for national broadcast. “Bandstand Boogie” became an anthem for generations of teenagers.

In 1982, Mr. Elgart rode the disco wave with “Hooked on Swing.” Heading an ensemble called the Manhattan Swing Orchestra, he blended “Cherokee,” “Sing, Sing, Sing,” “A String of Pearls” and other big-band standards into a tasty disco stew that cracked the Top 40.

“Many people tell me that they listen to it while running, walking or doing water aerobics,” he told The Morning Call of Allentown, Pa., in 1999.

Lawrence Joseph Elgart was born on March 20, 1922, in New London, Conn., and spent most of his childhood in Pompton Lakes, N.J. His father, Arthur, and his mother, the former Bessie Aisman, worked a variety of jobs to make ends meet during the Depression.

Larry took up the clarinet at 9 and later taught himself to play the flute, but it was the alto saxophone that was his ticket to fame. After studying with Hymie Shertzer, the lead alto with Benny Goodman, he was hired at 17 by the bandleader Charlie Spivak.

In 1945 he and his brother, a trumpeter, formed their own ensemble, paying top-drawer talent like Nelson Riddle, Bill Finegan and Ralph Flanagan to write their arrangements. The band failed commercially, and after selling their arrangements to the Tommy Dorsey Orchestra, the brothers returned to being sidemen.

While playing in the pit of the Broadway show “Top Banana” in 1951, Mr. Elgart met the composer and saxophonist Charles Albertine. The two collaborated on the experimental album “Impressions of Outer Space,” released by Brunswick in 1953.


 The brothers drifted apart and reunited several times over the years. “I never agreed with him musically,” Mr. Elgart told The Morning Call. “He was more trouble than anything else.”


In the early 1960s, however, they found a new formula for success by reworking pop hits on such albums as “Big Band Hootenanny” (1963), “Elgart au Go-Go” (1965) and “Girl Watchers” (1967). Les Elgart died in 1995.

Besides his wife, the former Lynn Walzer, Mr. Elgart, who lived in Longboat Key, Fla., is survived by two sons, Brock and Brad; four grandchildren; and four great-grandchildren. His first marriage ended in divorce.

Saturday, July 1, 2017

Swing That Music Part 4

This week on Big Band Bash, I am continuing with music from the CD box set "Swing That Music." This is a great set which, unfortunately, is no longer available. I have to acknowledge a mistake that I have made on the previous three parts. A listener pointed out that I have been calling the producers of the set the Smithsonian Institute when, in fact, their correct name is the Smithsonian Institution. I hope you enjoy the music from Duke Ellington, Bob Crosby, Glenn Miller, and many others from "Swing That Music." Thank you for listening and for downloading.

Here is a couple photos of Ivy Anderson who is featured on two numbers on the show today. One of them is "I've Got It Bad and That Ain't Good" which is a personal favorite of mine.


Saturday, June 24, 2017

Swing That Music Part 3

Part three of Swing That Music has a lot of hits from the golden age of the big bands plus three songs that were unknown to me until I listened to this set. Billie Holliday was a member of the Count Basie Orchestra from March 1937 until February 1938. During this time she was not on any of the studio recordings made by the Basie band. It was a simple explanation - she was under contract to Brunswick and Basie to Decca records. But someone recorded some of their performances off the radio and we have three of those songs in this set. Also, we have Frank Sinatra and Tommy Dorsey, Jimmy Rushing and Count Basie and Anita O'Day with Gene Krupa.


Saturday, June 17, 2017

Swing That Music Continued

This week I am going to continue with part two of Swing That Music. This four disc set was produced by music crtitc and writer Martin Williams for the Smithsonian Institute. Released in 1994, this set focused on the Big bands between the years of 1928 and 1950. Today we will be hearing from Benny Goodman, Harry James, Jack Teagarden, and Jimmy Dorsey to name a few of the bands. I hope when I am finished presenting the music in this set that you will have heard something from your favorite bandleaders. Sadly, this set is no longer being sold. I hope that if you enjoy this set that you are downloading the podcasts. So let's start week two with some foot tapping music from Swing That Music Part 2.

Sunday, June 11, 2017

Swing That Music Parts 1 - 5

Throughout the years, the Smithsonian Institute has produced some great collections of Jazz and Big Band music. My first three sets were collections of Duke Ellington's music from the years of 1938, 1939, and 1940. The liner notes were very extensive along with the nice packaging. While looking through the music library at the radio station, I came across a set that I haven't seen in a while. It was produced in 1994 and was called Swing That Music. I say was because it is no longer available. The set consisted of 4 cds from the years of 1928 to 1950. It is full of hits from the big band years as well as some that weren't as well known. For the next 5 weeks we are going to be listening to these great sides so get ready to go into the past as we Swing That Music. Here is a review of the set from AllMusic.com:

The Smithsonian's four-disc tribute to the swing/big band era, compiled by the late, great Martin Williams, offers as comprehensive a look at the genre as possible from a general perspective. Williams featured great and lightweight bands, highly popular vocalists like Bing Crosby and Frank Sinatra, dubious ones with large followings like Bob Eberly and Doris Day and underrated ones such as Al Hibbler and Helen Humes. Duke Ellington, Count Basie, Woody Herman and Benny Goodman are well-represented, but so are Harry James, Glenn Miller and Bob Crosby. The sound quality is first-rate and the liner notes are informative, and the material is nicely divided between familiar cuts and obscure tracks. The Smithsonian's sets are sometimes attacked for emphasizing one style over another or not representing each era of a genre; that cannot be leveled at this anthology.

Friday, June 2, 2017

A D-Day Anniversary Rememberance

This June 6th, 2017 is the anniversary of the invasion of Normandy better known as D-Day. It was a day that many American service men lost their lives. To pay tribute to those who served during that fateful time I would like to present some music from Glenn Miller and his Army Air-Force Orchestra. In order to get the timing right I've picked four numbers and two live radio remotes. Glenn's show was called "I Sustain The Wings". We'll be hearing a 13 minute show and a 29 minute show. There is some great music in these shows and I hope you enjoy it as we remember the many events that happened on June 6th, 1944.  Here is a little bit of information about the show from WikiPedia:

The radio show was initially on CBS from June to September, 1943. Glenn Miller was the host and conductor on the show, which also featured Ray McKinley, Jerry Gray, Johnny Desmond, and the Crew Chiefs, until June 10, 1944 when Harry Bluestone became the conductor. The Latin Sustineo Alas, "I Sustain the Wings", or "Keep 'Em Flying", was the motto of the U.S. Army Air Forces Technical Training Command. The I Sustain the Wings radio series continued until November 17, 1945.[4]



When Band Leader Glenn Miller joined the military one of his first assignments was to form a large military marching band that would for the core of several service orchestras. One of these, The Band of the Army Air Force Training Command, was featured weekly as part of CBSs Service Band line up on I Sustain the Wings. From this core of musicians he was allowed to draw fifty to accompany him to England in the summer of 1944 where they gave at least 800 performances. The Orchestra of the AAF Training Command continued the weekly CBS broadcasts.

Friday, May 19, 2017

Artie Shaw - A Birthday Salute Part 1

When I was in the high school band, I played the clarinet. I first discovered the great music of Benny Goodman then but a year or two later I discovered Artie Shaw. Artie's band was different than Benny's. I am not going to choose sides because I like them both. May 23rd, 1910 is the birthday of the late Artie Shaw and I wanted to present those great sides of his as we learn about his career. All the songs on both shows were picked out by Artie himself for a 5 disc set called Self-Portrait. These are the original recordings by Artie and his band.  Here is a short biography of Artie from the site AllMusic.com written by Scott Yanow:

One of jazz's finest clarinetists, Artie Shaw never seemed fully satisfied with his musical life, constantly breaking up successful bands and running away from success. While Count Basie and Duke Ellington were satisfied to lead just one orchestra during the swing era, and Benny Goodman (due to illness) had two, Shaw led five, all of them distinctive and memorable.

After growing up in New Haven, CT, and playing clarinet and alto locally, Shaw spent part of 1925 with Johnny Cavallaro's dance band and then played off and on with Austin Wylie's band in Cleveland from 1927-1929 before joining Irving Aaronson's Commanders. After moving to New York, Shaw became a close associate of Willie "The Lion" Smith at jam sessions, and by 1931 was a busy studio musician. He retired from music for the first time in 1934 in hopes of writing a book, but when his money started running out, Shaw returned to New York. A major turning point occurred when he performed at an all-star big band concert at the Imperial Theatre in May 1936, surprising the audience by performing with a string quartet and a rhythm section. He used a similar concept in putting together his first orchestra, adding a Dixieland-type front line and a vocalist while retaining the strings. Despite some fine recordings, that particular band disbanded in early 1937 and then Shaw put together a more conventional big band.

The surprise success of his 1938 recording of "Begin the Beguine" made the clarinetist into a superstar and his orchestra (who featured the tenor of Georgie Auld, vocals by Helen Forrest and Tony Pastor, and, by 1939, Buddy Rich's drumming) into one of the most popular in the world. Billie Holiday was with the band for a few months, although only one recording ("Any Old Time") resulted. Shaw found the pressure of the band business difficult to deal with and in November 1939 suddenly left the bandstand and moved to Mexico for two months. When Shaw returned, his first session, utilizing a large string section, resulted in another major hit, "Frenesi"; it seemed that he could not escape success. Shaw's third regular orchestra, who had a string section and such star soloists as trumpeter Billy Butterfield and pianist Johnny Guarnieri, was one of his finest, waxing perhaps the greatest version of "Stardust" along with the memorable "Concerto for Clarinet." The Gramercy Five, a small group formed out of the band (using Guarnieri on harpsichord), also scored with the million-selling "Summit Ridge Drive."

Despite all this, Shaw broke up the orchestra in 1941, only to re-form an even larger one later in the year. The latter group featured Hot Lips Page along with Auld and Guarnieri. After Pearl Harbor, Shaw enlisted and led a Navy band (unfortunately unrecorded) before getting a medical discharge in February 1944. Later in the year, his new orchestra featured Roy Eldridge, Dodo Marmarosa, and Barney Kessel, and found Shaw's own style becoming quite modern, almost boppish. But, with the end of the swing era, Shaw again broke up his band in early 1946 and was semi-retired for several years, playing classical music as much as jazz.


His last attempt at a big band was a short-lived one, a boppish unit who lasted for a few months in 1949 and included Zoot Sims, Al Cohn, and Don Fagerquist; their modern music was a commercial flop. After a few years of limited musical activity, Shaw returned one last time, recording extensively with a version of the Gramercy Five that featured Tal Farlow or Joe Puma on guitar along with Hank Jones. Then, in 1955, Artie Shaw permanently gave up the clarinet to pursue his dreams of being a writer. Although he served as the frontman (with Dick Johnson playing the clarinet solos) for a reorganized Artie Shaw Orchestra in 1983, Shaw never played again. He received plenty of publicity for his eight marriages (including to actresses Lana Turner, Ava Gardner, and Evelyn Keyes) and for his odd autobiography, The Trouble With Cinderella (which barely touches on the music business or his wives), but the outspoken Artie Shaw deserves to be best remembered as one of the truly great clarinetists. His RCA recordings, which were reissued in complete fashion in a perfectly done Bluebird LP series, have only been made available in piecemeal fashion on CD.

Sunday, May 7, 2017

1939-1940 Time Life - The Swing Era Part 1

For the next two weeks, I am presenting an encore presentation of Big Band Bash. This two part show originally aired in 2014. Today's program was part of a series I did on Time Life Record's ambitious project called "The Swing Era". It was a ten volume set with three records included in each volume. Today we turn to the years of 1939-1940. The songs were rerecorded by the bands of Billy May and Glen Gray. I have this set and I thought that instead of hearing the recreations that it would be interesting to hear the original recordings. So I'm borrowing the playlist and presenting the originals where I can. If I couldn't come up with the original recording then we'll hear the recreation. There are about 30 songs in this set so I'm going to break it up into two parts. I hope you enjoy the music.


Saturday, April 22, 2017

Ella Fitzgerald - A 100th Birthday Celebration

Ella Fitzgerald was born on April 25th 1917 100 years ago. She is one of the greatest jazz vocalists in jazz history and she got her start singing with the big bands. It seems as if every jazz radio station or podcast is doing some sort of tribute to Ella so I thought I would get mine in. On today's show we will be listening to some of the many side she recorded with the Chick Webb orchestra as well as some of the sides she recorded with her own big band. In between numbers we'll also learn about the woman they called "The First Lady of Song."   Here is a short biography of Ella from Encyclopedia Brittanica:


American singer who became world famous for the wide range and rare sweetness of her voice. She became an international legend during a career that spanned some six decades.
Singing in a style influenced by the jazz vocalist Connee Boswell, Fitzgerald won amateur talent contests in New York City before she joined the Chick Webb orchestra in 1935; Webb became the teenaged Fitzgerald’s guardian when her mother died. She made her first recording, “Love and Kisses,” in 1935, and her first hit, “A-Tisket, A-Tasket,” followed in 1938. After Webb’s death in 1939, she led his band until it broke up in 1942. She then soloed in cabarets and theatres, toured internationally with such pop and jazz stars as Benny Goodman, Louis Armstrong, Duke Ellington, the Mills Brothers, the Ink Spots, and Dizzy Gillespie, and recorded prolifically.


During much of her early career she had been noted for singing and recording novelty songs. Her status rose dramatically in the 1950s when jazz impresario Norman Granz became her manager. From 1956 to 1964 she recorded a 19-volume series of “songbooks,” in which she interpreted nearly 250 outstanding songs by Richard Rodgers, Cole Porter, George Gershwin, Duke Ellington, Jerome Kern, Irving Berlin, and Johnny Mercer. This material, combined with the best jazz instrumental support, clearly demonstrated Fitzgerald’s remarkable interpretative skills. Although her diction was excellent, her rendition of lyrics was intuitive rather than studied. For many years the star attraction of Granz’s Jazz at the Philharmonic concert tours, she was also one of the best-selling jazz vocal recording artists in history. She appeared in films (notably Pete Kelly’s Blues in 1955), on television, and in concert halls throughout the world. She also recorded a number of live concert albums and produced a notable duet version of Porgy and Bess (1957) with Armstrong. During the 1970s she began to experience serious health problems, but she continued to perform periodically, even after heart surgery in 1986, until about 1993.

Fitzgerald’s clear tone and wide vocal range were complemented by her mastery of rhythm, harmony, intonation, and diction. She was an excellent ballad singer, conveying a winsome, ingenuous quality. Her infectious scat singing brought excitement to such concert recordings as Mack the Knife: Ella in Berlin and was widely imitated by others. She won 12 Grammy Awards and several other honours.

Saturday, April 15, 2017

Sinatra - The Dorsey Years

Hello again. As some of you might know, I am a saxophonist. Recently I had the privilege of playing in a big band backing a gentleman that sang all of Frank Sinatra songs. What fun it was. So that got me thinking that I haven't played much of Frank's recordings with Tommy Dorsey. The show for this weekend is the remedy for that. These are some of the great recordings that the Dorsey band made during the years of 1939 to 1942 with vocals by Frank Sinatra.  Here is an except by Phillip D. Attenberry:


In 1940, Tommy Dorsey lured Sinatra away from James and launched him on the road to stardom. The Dorsey years (1940-42) are often hailed as seminal in Sinatra's development, but Yank Lawson, who watched young Frank from the trumpet section, disagreed. "I don't think Sinatra learned much with Dorsey," Yank told me in 1992. "His talent was already developed when he got there. He became so famous during those years because Dorsey had a good publicity machine, knew how to package him and had the money to do it right."
Sinatra himself disagreed. In a famous interview with Arlene Francis in 1977, Sinatra credits Dorsey with teaching him how and when to breathe for maximum effect. Adele Girard Marsala, who worked occasional dates with Dorsey and Sinatra, told me much the same thing in a 1993 interview. "Frank's phrasing was definitely influenced by Tommy Dorsey," she told me. "I never had any love for Tommy Dorsey, but it's a good thing Frank joined him when he did. Dorsey was the smoothest player in the business, and after falling under his influence, Sinatra became the smoothest singer."

Whether it was packaging or artistic blossoming (probably some of both), Tommy Dorsey made a star of Frank Sinatra. But musically speaking, the importance of these years had more to do with what was going on back stage. Dorsey, who had the best musical organization in the country in 1941, boasted three of the best arrangers: Sy Oliver, Paul Weston and Axel Stordahl. Oliver was the top swing arranger and Weston the top ballad man, with Stordahl a close second. From them, Sinatra discovered the importance of good arrangements. When Weston left to pursue his own career, Stordahl began working with Sinatra. That turned out to be one of the two or three most important developments in his entire career.

Sinatra's recording of "Polka Dots and Moonbeams," which was probably arranged by Weston, represents his best work of the period. As usual, the melody is established by the smooth legato of Dorsey's trombone (supplemented by a few bars of Babe Russin's tenor sax) before young Frank, sounding more like a tenor than a baritone, delivers Johnny Burke's poetic lyric about a "frightened" wallflower discovering a "pug-nosed dream." Sinatra was a master of vibrato during these years, making it, at times, sound like a controlled tremor, as in the phrases, "May I have the next one?" and "Was I the perplexed one?" The timidity of the speaker is registered beautifully in Sinatra's voice inflections. It's no wonder the bobby-soxers wanted to caress him in the back of a Studebaker.

Looking back, it is amazing how brief Sinatra's stint with Dorsey actually was, from January 1940 to September 1942. As would so often be the case with Sinatra, what started so promisingly ended unpleasantly. In fact, Sinatra's career is characterized by a series of failed relationships, with women, with record companies, and with musicians. And yet even though his break with Dorsey was messy, it was neither man's fault. Clearly, Sinatra's popularity mandated that he strike out on his own. Equally clearly, the tough-minded Dorsey was determined to squeeze as much profit from Sinatra as he could. A fight ensued over Sinatra's contract, which bound him to Dorsey well into 1943. Because Sinatra left early, Dorsey continued to collect part of Frank's salary. Sinatra, who had learned a thing or two about publicity from Dorsey, used the press advantageously. The bobby-soxers rose up in protest and carried picket signs: "Dorsey Unfair to Frankie." The fan magazines loved it. So did the lawyers. It was uncomfortable for a while, but sanity prevailed, as it usually does in such things. Sinatra bought out his contract from Dorsey and paid stiffly for it. Now he was his own man, and--in taking Axel Stordahl with him--he shoved one last burr in Dorsey's saddle.

Saturday, April 8, 2017

Charlie Spivak - A Master Trumpeter

This week's show is a belated birthday salute to a great trumpeter and bandleader, Charlie Spivak. Charlie was an exceptional trumpet player who, despite having been around jazz musicians all his life, rarely improvised. I recorded a show on the Spivak Orchestra several years ago and decided a few weeks ago to revisit his band. He was a member of several top name big bands before launching one of his one. Glenn Miller was one of his backers. We will be listening to some of the early original recordings that feature Charlie's wife, vocalist Irene Daye. These are some great sides by a Big band leader and a trumpet master.

Here is a short biography of Charlie that I found on Allmusic.com written by Scott Yannow:


Despite coming up in the jazz world and spending his life around jazz musicians, Charlie Spivak rarely improvised and was most notable for his pretty tone. He moved to the U.S. with his family as a small child and grew up in New Haven, CT. Spivak began playing trumpet when he was ten, gigged locally as a teenager, and worked with Don Cavallaro's Orchestra. During most of 1924-1930 he was with Paul Specht's Orchestra, primarily playing section parts where his tone was an asset. Spivak was cast in the same role with Ben Pollack (1931-1934), the Dorsey Brothers (1934-1935), and Ray Noble. He worked in the studios during most of 1936-1937 and then had stints with the orchestras of Bob Crosby, Tommy Dorsey, and Jack Teagarden. Spivak formed his own band in November 1939 (financed by Glenn Miller) and, although his first orchestra failed within a year, his second attempt shortly after was more successful; in fact, Spivak became a major attraction throughout the '40s and he kept his band together until 1959.



Spivak lived in later years in Florida, Las Vegas, and South Carolina, putting together orchestras on a part-time basis, staying semi-active up until his death at the age of 75. Among his better recordings were his theme "Let's Go Home," "Autumn Nocturne," and "Star Dreams." Charlie Spivak, who recorded as late as 1981, was married to singer Irene Daye (who was formerly with Gene Krupa's Orchestra).

Saturday, April 1, 2017

Larry Clinton

On the show this week we will be learning about and listening to the music of the late Larry Clinton. Larry was trumpet player who was also a gifted arranger and composer. Along with vocalist Bea Wain, his band was one of the most popular of the late 1930's. Some of his originals include, A Study in Brown, The Dipsy Doodle and My Reverie. Clinton's band was predominantly a recording group that also played college proms and hotel ballrooms. Larry broke his band up when World war II began. He resumed his band, after serving as a pilot during WW2, in 1945. These are the original recordings by Clinton orchestra.  Here is a little biography that I found on Wikipedia:

Clinton was born in Brooklyn, New York. He became a versatile musician, playing trumpet, trombone, and clarinet. While in his twenties, he became a prolific arranger for dance orchestras; bandleaders Tommy Dorsey, Jimmy Dorsey, Glen Gray, Louis Armstrong, and Bunny Berigan all used Larry Clinton charts.

His first stint as a bandleader was from 1937 to 1941, and he recorded a string of hits for Victor Records. The Clinton band's repertoire was split between pop tunes of the day ("I Double Dare You," "Summer Souvenirs," etc.), ambitious instrumentals penned by Clinton (the most popular, "A Study in Brown," begat four sequels in different "colors"), and swing adaptations of classical compositions. This last category swept the industry, and orchestras everywhere were "swinging the classics" by adding pop lyrics to melodies by Debussy and Tchaikovsky. His version of Debussy’s "Reverie", with vocalist Bea Wain, was particularly popular. Entitled "My Reverie", his version peaked at #1 on Billboard's Record Buying Guide in 1938.

Clinton's band was predominantly a recording group that also played college proms and hotel ballrooms. On the strength of Clinton's record hit "The Dipsy Doodle," Vitaphone and Paramount Pictures signed the band to star in three 10-minute theatrical films. All were filmed in New York.
In 1941 Clinton and his band appeared in six short musical films, designed for then-popular "movie jukeboxes." (The films were ultimately released as Soundies in 1943.) This was one of his last jobs as a bandleader; he quit the music business upon the outbreak of World War II, and joined the United States Army Air Forces. A rated pilot, he rose to the rank of captain, was stationed with the Air Transport Command in Calcutta and China during Hump airlift, and was a flight instructor with the 1343rd Base Unit.
He resumed his musical career and enjoyed further success as a bandleader from 1948 to 1950. He remained active in the music business – often leading a studio band for pop singers like Barry Frank – until 1961. He died in 1985 in Tucson, Arizona, at the age of 75.

I hope you enjoy this look at the music of Larry Clinton.


Sunday, March 26, 2017

Two Bands I've Missed: Bob Chester and Teddy Powell

This week we will be listening to and learning about two bands that I've never recently covered before: Bob Chester and Teddy Powell. This is a rebroadcast of a show I produced back in 2012. Bob had a great band that was heavily influenced by Glenn Miller. Teddy's band had a great start in New York but had trouble sustaining that popularity outside of the Northeast. These are the original recordings by both bands.

Also, I want to celebrate Bob Chester's birthday. He was born on March 20, 1908.
Here is a picture of Bob and a little information on Bob from Wikipedia:

Chester's stepfather ran General Motors's Fisher Body Works. He began his career as a sideman under Irving Aaronson, Ben Bernie, and Ben Pollack. He formed his own group in Detroit in 1939, with a Glenn Miller-influenced sound. This band was unsuccessful in local engagements and quickly dissolved. He then put together a new band on the East Coast under the direction of Tommy Dorsey and with arrangements by David Rose. This ensemble fared much better, recording for Bluebird Records.
Chester's group, billed "The New Sensation of the Nation," had its own radio show on CBS briefly in the fall of 1939. The twenty-five-minute program aired from the Hotel van Cleve in Dayton, Ohio late on Thursday nights (actually 12:30 am Friday morning, Eastern Time); the September 21, 1939 edition can be heard on the famous One Day In Radio tapes, archived by Washington D.C. station WJSV.
Chester's Bluebird records have proved excellent sellers, both for retail dealers and coin phonograph operators such as "From Maine to California"; "Wait Till the Sun Shines, Nellie"; "Madeliaine"; and two songs from "Banjo Eyes" - "Not a Care in the World" and "A Nickel to My Name".[1]
Chester's orchestra included trumpeters Alec Fila, Nick Travis, and Conrad Gozzo, saxophonists Herbie Steward and Peanuts Hucko, drummer Irv Kluger, and trombonist Bill Harris. His female singers included Dodie O'Neill, Kathleen Lane, and Betty Bradley; among his male singers were Gene Howard, Bill Darnell, Joe Harris, Stu Brayton, Hall Stewart, Peter Marshall, and Bob Haymes.
The orchestra disbanded in the mid-1940s, due in part to the shrinking market for big band sound. Chester assembled another band for a short time in the early 1950s, but after it failed he retired from music and returned to Detroit to work for the rest of his life in auto manufacturing.


Here is a picture of Teddy Powell and some information on him from Wikipedia:

Teddy Powell (Teodoro Paolella) (March 1, 1905 in Oakland, California – November 17, 1993 in New York City) was an American jazz guitarist, composer and big band leader. Some of his compositions were under the pseudonym Freddy James.
Teddy spent several years with the Abe Lyman band where he also served as a vocalist, arranger and helped out on the business side of things.
Powell began playing violin when he was eight, picked up the banjo when he was fourteen and led his first band the following year. They stayed together until 1944.
His own band hired several highly regarded musicians formerly with the Benny Goodman, Tommy Dorsey and Casa Loma orchestras. The band made its début at New York's Famous Door nightclub.
Teddy's big band was very popular for a short time in 1939 while they were in New York. Irving Fazola, Pete Mondello, John Austin, Nick Caizza, Carmen Mastren, Ely Davis, Hugh Brown, S.J. Kramer, John Popa, Jerry Shane, Irwin Berken featured on his bands.
In 1941 the band lost all of its instruments in a fire at a nightclub in New Jersey.
Teddy Powell retired from band-leading in 1954 and formed a music publishing company in New York City sometime prior to 1960 and prospered. The principal company, among many, was Tee Pee Music Co.

I hope you enjoy the music this week from Bob Chester and Teddy Powell.

Saturday, March 18, 2017

Glenn Miller Live Part Two

Welcome to Part Two of my Glenn Miller Birthday Salute. I finally recovered from my bad cold and my voice is now back to the way I used to sound. As you know, March 1, 1904 is the birthday of the late bandleader, Glenn Miller. In this second part,  I am continuing with these live broadcasts of the Miller Band from the Glen Island Casino which is located in New Rochelle New York. Bands started broadcasting from there in 1932 and the first band to achieve some popularity because of these broadcasts was the band of Ozzie Nelson. Since Glenn was just becoming a popular band in 1939 there are not a lot of his hit recordings. Instead we find many songs that Glenn never recorded commercially. On this show we have 4 fifteen minute remotes instead of two thirty minute remotes like we heard in part one. Here is part two of Glenn Miller broadcasting from the Glen Island Casino, located in New Rochelle, New York.

In other news Big Band Bash is now on TuneIn. You can go to TuneIn.com and search for Big Band Bash and listen to the podcast there at anytime. I am currently working on submitting BBB to Google Play. I tried earlier but they are a little fussy on the icons and graphics that go with the show. Stay tuned for more information and thank you for listening.

Sunday, March 12, 2017

Under the Weather

Hello. I had intended to present Part 2 of Glenn Miller Live this week but I came down with a severe cold that affected my voice. So rather than subject everyone to my scratchy, cracking voice I pulled out an encore presentation of Big Band Bash to present this week. It is a program of three radio remotes. The bands are from Tommy Dorsey, Benny Goodman, and Glenn Miller. I hope you enjoy it and I will be back next time with part number 2 of Glenn Miller Live as we remember his birthday. Hopefully my voice will be back to normal. Thank you for listening.

Saturday, March 4, 2017

Glenn Miller Live - A Birthday Salute

To celebrate Glenn Miller's birthday I decided to do a two part show with some of his recordings from the Glen Island casino. Last year a did a four part series on Glenn in honor of his birthday which is March 1, 1904.  The recordings are from radio remotes starting in May of 1939.  here is little bit I found on Wikipedia on the Glen Island Casino:

The Glen Island Casino dining hall rose on the foundation of the Grand Cafe, one of the few structures remaining from Starin's park. The building opened into a series of balconies overlooking the Long Island Sound which made it an attractive dining and entertaining location.[18] At the time, the term "casino" was not associated with legalized gambling but instead described "a public social place for entertainment." However, the nightspot was soon living up to the contemporary definition of its name. By 1930, when prohibition was marking its tenth year in the United States, Glen Island Casino was acquiring the reputation as being a speakeasy, yet at the same time the Casino had also begun to book up-and coming musicians for weekend dances. One of the first was Oswald George Nelson, better known as "Ozzie", who set the pace packing the 60-foot by 124-foot hall with throngs of young dancers. Accompanied by his wife, Harriet Hilliard, the Ozzie Nelson Orchestra gained national attention when it played the Casino's 1932 season.[19]
The next summer the most influential white band in the United States during the early 1930s, the Casa Loma Orchestra, drew in the crowds and ushered in the Big Band era for the Casino. The performances at the Glen Island Casino were being heard nationwide. Situated on the Sound, the Casino's enormous ballroom was acoustically ideal for the crystal-clear radio transmissions.[20]
Many artists made their name at the Casino, among them such notables as Glenn Miller,[21] the Dorsey Brothers,[22] Benny Goodman, Charlie Barnet, Larry Clinton, Les Brown and Doris Day, Charlie Spivak, Woody Herman, Gene Krupa, Hal Mcintyre and Claude Thornhill.[23]
After the Big Band Era's end, the Glen Island Casino was eventually converted to a restaurant and catering hall, which operates as part of the present-day county park—open to county residents only—on the site.

Here is a current picture of Glen Island Harbor Club (as it is now known):















I hope you'll tune in as we celebrate the birthday of the Late bandleader Glenn Miller.

Saturday, February 25, 2017

Posting Mistake and Chick Webb

Well I'm back for a record breaking two weeks in a row. I had a little mishap with the podcast. Lat week I thought I was uploading the show on Jimmie Lunceford but it turned out to be this week's show on Chick Webb. I discovered it a few days ago and replaced it with the correct show. This week's show is on Chick Webb and is a show I produced a few years ago.

Here is a little biography of Chick Webb I found on Allmusic.com, it was written by Richard S. Ginell.

Chick Webb represented the triumph of the human spirit in jazz and life. Hunchbacked, small in stature, almost a dwarf with a large face and broad shoulders, Webb fought off congenital tuberculosis of the spine in order to become one of the most competitive drummers and bandleaders of the big band era. Perched high upon a platform, he used custom-made pedals, goose-neck cymbal holders, a 28-inch bass drum and a wide variety of other percussion instruments to create thundering solos of a complexity and energy that paved the way for Buddy Rich (who studied Webb intensely) and Louie Bellson. Alas, Webb did not get a fair shake on records; Decca's primitive recording techniques could not adequately capture his spectacular technique and wide dynamic range. He could not read music, but that didn't stop him either, for he memorized each arrangement flawlessly. Although his band did not become as influential and revered in the long run as some of its contemporaries, it nevertheless was feared in its time for its battles of the bands in Harlem's Savoy Ballroom; a famous encounter with the high-flying Benny Goodman outfit at its peak (with Gene Krupa in the drummer's chair) left the latter band drained and defeated.







William Henry Webb bought his first set of drums with his earnings as a newsboy, and he began playing in bands on pleasure boats. After moving to New York in 1925, he led bands in various clubs before settling in for long regular runs at the Savoy beginning in 1931. Although Benny Carter and Johnny Hodges played with the band early on, the Webb band was oddly short on major soloists during its heyday from the mid-'30s onward; the young alto sax player Louis Jordan made the biggest impression after leaving the band. But the band made up for it with a crisp ensemble sound, Webb's disciplined, ferociously driving drum pyrotechnics, trumpeter Taft Jordan's impressions of Louis Armstrong, and most of all, a series of strong compositions and charts by Edgar Sampson ("Blue Lou" and "Stomping at the Savoy" among them). In 1935, Webb hired the teenaged Ella Fitzgerald after she won a talent contest at the Apollo Theater, became her legal guardian, and rebuilt his show around the singer, who provided him with his biggest hit record, "A Tisket-A-Tasket," in 1938. The band's fame continued to grow, fueled by its reputation as a giant-killer in the Savoy battles and a continuous string of Decca 78s that featured such irresistible numbers as "T'aint What You Do (It's the Way That You Do It)" and the B-side of "Tasket," "Liza." But Webb's precarious health began to give way, and after a major operation in Johns Hopkins Hospital in Baltimore, he died (his last words reportedly were, "I'm sorry, I've got to go."). After Webb's death, Fitzgerald fronted the band until it finally broke up in 1942.

I hope you enjoy the music. Thanks for listening and remember you can sign up for the Big Band Bash podcast on ITunes or go here: http://traffic.libsyn.com/bigbandbash/BigBandBash312.mp3 for the direct download link.

Saturday, February 18, 2017

I'm Back, Black History Month and Jimmie Lunceford

Hello All. Since I publish my podcast Big Band Bash and in the documentation I say tune in at  bigbandbashfm.blogspot.com I thought it would probably be good if I actually updated the bog and let readers know what is happening with Big Band Bash.

I have been publishing the podcast every weekend and have been getting more and more downloads and emails every week. Thank You all for listening and writing. When I switched over to Libsyn for the frst few months I was getting, maybe, 2,000 downloads a month. But slowly the downloads have been climbing and last month saw a record 6,669 downloads. That is amazing to me since Big Band music is not that popular. I love creating the podcast and listening to the music as I'm putting it together.

Well, today I am going to start Black History Month with a show I did a few years ago on the band of Jimmie Lunceford.  Here is the direct link to the podcast: http://traffic.libsyn.com/bigbandbash/BigBandBash315.mp3 Here is a little history on found on Jimmie at swingmusic.net:


Jimmie Lunceford’s music education included studying under Wilberforce J. Whiteman, the father of Paul Whiteman. His scholastic education included receiving a BA from Fisk University and later attending New York City College. Although Lunceford became proficient on all reed instruments he preferred the alto saxophone.


Jimmie Lunceford recruited the nucleus of his band while an athletic instructor at Manassas High School in Memphis, Tennessee. It was here, in 1927, that he organized a student jazz band called the Chicksaw Syncopators. The personnel of this band included Moses Allen (bass) and Jimmy Crawford (drums). Later, Willie Smith (alto) and Eddie Wilcox (piano) were added. The group turned professional in 1929, waxing its first recordings for RCA in 1930. After playing for several years in Cleveland and Buffalo, in 1934, the band began a high profile engagement at the famed Cotton Club in Harlem. At first the band played flashy, stiff instrumentals in the early Casa Loma orchestra manner such as two

While Wilcox and Smith both contributed early arrangements, it was the addition of ace arranger and trumpet man Sy Oliver that gave the Lunceford band its distinguished two-beat sound. Paul Webster on trumpet, Eddie Durham and later Trummy Young on trombone, and vocalist Dan Grissom were also important mid 1930s additions to the Lunceford band. By 1935 the group, then called Jimmie Lunceford's Orchestra, had achieved a national reputation as one of the top black swing bands.

The Jimmie Lunceford big band during the Swing era was widely known and other bands often imitated its showmanship and appearance. Lunceford  rehearsed his outfit endlessly. The polish of the band is evident on record by its flawless ensemble work. Further adding to the appeal of the band were the vocals by several of Lunceford's men. Jimmie's boys whispered, wheedled, cozened, rather than sang. Oliver and Smith, Joe Thomas and later Trummy Young all sang with the band often in trio unison. Unseen, is the choreography of the group's musicians in performance. Of particular delight to fans who saw the band in person was the spectacle of members of the trumpet section tossing their horns high into the air and catching them on the beat (see Miller photo below). In 1935 a long list of superb Decca two-beat recordings associated with Lunceford's name but written by Sy Oliver began; For Dancers Only, Margie, ‘Posin, Slumming On Park Avenue, My Blue Heaven, Organ Grinders Swing etc. are still great listens today. Unfortunately, based on the merits of his band's recordings, Lunceford may never receive his just due as a leader simply because his group's superb showmanship is lost on record.

Although his orchestra-leading career nowhere near paralleled in longevity that of Basie or Ellington, for a time from 1935 until Sy Oliver left his band to work for Tommy Dorsey in 1939, the Lunceford band was one of the most popular in the land. The distinctive Lunceford style, generally identified with Sy Oliver although many other arrangers contributed to the bands vast book, influenced many bandleaders and arrangers right up to the 1950’s. Glenn Miller was influenced by the Lunceford unit's showmanship (see photo below) and Tommy Dorsey, after Sy Oliver joined his band, borrowed much from the Lunceford tradition. Many albums described as tributes to Lunceford have been recorded including those by Sy Oliver, George Williams, Billy May and others.

When Sy Oliver left the band in 1939, Bill Moore Jr. showed up and left a vital impression on the band's books with his Belgium Stomp, Monotony In Four Flats, and I Got It. In 1941 the addition of trumpet man Snooky Young and some fine arrangements by Gerald Wilson further heightened the band's recorded output.

In 1942 Tadd Dameron arranged for the orchestra but the band began to have internal problems. The issues of the band were mainly monetary, precipitated by Lunceford's refusal to pay his players a wage on par with that of other successful bands. Lunceford himself wanted for nothing and was reputed to have a lavish lifestyle which was readily apparent to all of his sidemen. In May of 1942 Lunceford fired many of his key musicians (see article below) and alto man Willie Smith soon left as well, leaving a huge void in the band.


By the time the recording ban ended a mass exodus from the group had occurred. Nevertheless, Jimmie Lunceford was still a popular bandleader in 1947 when he suddenly collapsed and died while signing autographs after an engagement in Oregon. Rumors soon surfaced (including those printed in DownBeat magazine) that a racist restaurant owner, who had a strong aversion about feeding the Lunceford band, actually poisoned the bandleader.

After Lunceford's death, pianist/arranger Ed Wilcox and Joe Thomas tried to keep the orchestra together but in 1949 the band permanently broke up.

I hope you enjoy the podcast and I will try to update this blog more often.