Newest of the new

#200: Saturday Night is the Loneliest Night in the Week

#201: In the Wee Small Hours of the Morining

#202: I’ve Got a Lot of Livin’ To Do

#203: Harlem Nocturne

#204: Just a Gigolo/I Ain’t Got Nobody

#205: Zoot Suit Riot

#206: That’s Right, You’re Not From Texas

#207: Peg

One tube of medicine = Mark VI alto?

I just bought a tube of medicine for a skin condition which would have cost me $659 if I weren’t covered on my wife’s insurance. With a coupon supplied by my doctor the net cost was zero. It was a manufacturer’s coupon covering up to $50 in copayment costs.

Just to gain a little perspective on this, my Selmer Mark VI, which was bought for me in 1967, retailed at the time for $630. It was my first exposure to the crazy world of music store prices, and we ended up paying half that. If I sold that horn now, it’d go somewhere between $4500 and $5000.

But still, buying a 100g tube of medicine for nearly the same price . . . this is crazy business. No wonder something’s got to change.

Curiouser and Curiouser

My brother had to drive pretty far out of town to patch things up with the owner of a venue where the full band’s been hired in June to play a wedding. Now there’s no trouble between us and the couple being married, nor with their respective families. This is the owner of the place summoning Jimmy and telling him that we are too much for his room, which is the size of a barn.

People in “The Business” ought to know better. This is a place where 4-piece Country bands play week in and week out, and the long-suffering owner just thought that we, who will consist of 12 players (11 musicians and a singer) for that particular wedding will be three times the volume of the average Country band. What he didn’t know is we will be ONE THIRD the volume of the 4-piece Country band, unless we choose to. We use a lot less amplification, but the Wire Choirs have made these drives necessary by making an arms race out of volume. My guess is that, when we play in his barn, there will be 400 combined years of working the musical vineyard up on the stage, and enough common sense to keep the volume down.

Jimmy patched things up with the owner and left him with assurances that we knew what we were doing.

Such are the things that musicians have to put up with, and no one seems ready to ask the real question . . .

What country?

Adding More to the Books

I am about to add my 200th chart to the library. When I get to #201 I think I’ll back down and concentrate on getting gigs and making a system of order within the folders. When I started hewing this out of the existing NFSO books, I put everything in a database on my Mac called Bento, so that I can make sorts, pull up all the waltzes (I could use another--my guess is the Ray Charles chart of Oh What a Beautiful Morning), so that I don’t have two charts with the same number, or two version of the same chart because I thought I didn’t have one and wrote it twice. Don’t laugh. It’s happened.

The latest additions to the library are some special ones:

Disney Ballad Medley is what I choose to call a chart I got from Jaxon Stock, one of the best trombone players/arrangers alive. He wrote it for a band I played with in California led by an orthodontist who played trumpet. Two tunes, featuring the flugelhorn: When You Wish Upon a Star, Some Day My Prince Will Come. I did a reverse reduction of Jack’s score, adding the “extra” tenor saxophone that we have.

Young and Foolish, a piano feature arranged by Frank Mantooth. I bought a Xerox copy of this chart from Frank in 2001, because Hal Leonard had pulled it from their catalogue. Frank’s no longer with us, sadly, but music like this guarantee he’ll be around for generations to come. John Groves, who plays piano with us usually, has worked up this chart for another band, and he studied with Frank in college. Can’t wait to play it. I’ve never thought of this as a profound piece of music, except for the versions Bill Evans recorded. He seemed to coax a lot out of relatively simple material, especially the version with Tony Bennett. Frank recorded this arrangement with Ashley Alexander’s big band in Los Angeles, with Frank playing the piano solo and several of my old associates in the band. It’s haunted me for years, and now I have a reduction that I am hoping will work for our instrumentation. Kevin Flatt is also doing the lead trumpet part with another big band, so when the scream comes it’ll be a good one.

Into the Mystic and Domino, from the ORB book, very close to Van Morrison’s recordings.

Lowdown, also from ORB, although we never seem to play it.

Peanut Vendor, or El Manisero, and I have a long history. Stan Kenton was the longest-running mambo band ever. He was also my first solid employment after college. But you can’t adapt 5 trumpets, 5 bones, 5 saxes, 5 rhythm into our more modest resources, so I tried to pull it together as best as I could with what we’ve got.

Sister Sadie is a Horace Silver tune, up tempo, and “funky” in the original sense of the word.

Feeling Good . . . well, every boy singer on Princess Cruises wants to be Michael Bublé now, don’t they? Written for an ORB wedding, played once, deserves more.

What Now My Love? Moves up in whole steps, boy singer.

Beyond the Sea & The Summer Wind, boy singer, wrote it for Michel Chartier on QE2.

Good Morning Heartache, speaking of singers on ships, I wrote this for Casey Daniel when we were both on Grand Princess out of Galveston. It’s not the kind of material that goes over on a cruise ship, though.

The Godfather Theme adapted from a chart written by an older tenor player with Roy LaVance’s band, which I played in (when I was a YOUNG tenor player) at the revolving restaurant at the Ventura Holiday Inn in the early eighties. The chart starts with a jolly tarantella and ends with the theme from Dragnet. In the middle it’s a 2-beat that we used to call “Businessman’s Bounce,” a tempo and feel combination that is easy on the feet when dancing.

I’ve been setting up a fan page in Facebook. I thought it was pretty cool when we had as many fans as the band--11. But now we’ve got over eighty. Thanks everybody. If you’re wondering how to look at our fan page, enter Original Recipe Big Band in the search box at the top of any other Facebook page.

Oh, and I’ve decided that we are a Hybrid Big Band, because of our genre-hopping. Hmmm.

Genre List April 6, 2009

Tampering with the notion that all big bands play is standard big band music:

Title Voc_Inst Genre

Since I Don't Have You Vocal Male 12/8 Rock
Feeling Good Vocal Male 12/8 Rock
'S Wonderful Instrumental 2 Beat
Bidin' My Time Instrumental 2 Beat
Song of the Volga Boatman Instrumental 2 Beat
Marie Instrumental 2 Beat
Dancing in the Dark Instrumental 2 Beat
Birth of the Blues Instrumental 2 Beat
Tribute To Helen Dell Instrumental 2 Beat
Sentimental Journey Instrumental 2 Beat
Western Medley Instrumental 2 Beat
Deep Purple Instrumental 2 Beat
When Lights Are Low Instrumental 2 Beat
Night & Day Instrumental 2 Beat
Swanee River Instrumental 2 Beat
I Got a Right to Sing the Blues Vocal Male 2 Beat
Lullaby in Rhythm Instrumental 2 Beat
Cheek to Cheek Vocal Male 2 Beat
Little Brown Jug Instrumental 2 Beat
Mack the Knife Vocal Male 2 Beat
How Little We Know Vocal Male 2 Beat
Learnin' the Blues Vocal Male 2 Beat
Pennsylvania 6-5000 Instrumental 2 Beat
My Kind of Town Vocal Male 2 Beat
Mood Indigo Instrumental Ballad
Serenade In Blue Instrumental Ballad
No Spring This Year Instrumental Ballad
Tenderly Instrumental Ballad
Bewitched, Bothered and Bewildered Instrumental Ballad
Stardust Instrumental Ballad
I Got It Bad Instrumental Ballad
What's New Instrumental Ballad
Autumn in New York Instrumental Ballad
DC Farewell Instrumental Ballad
Blue & Sentimental Instrumental Ballad
The High & Mighty Instrumental Ballad
Li'l Darlin Instrumental Ballad
Good Bye Instrumental Ballad
Dream Instrumental Ballad
Moonlight in Vermont Instrumental Ballad
I'm Getting Sentimental Over You Instrumental Ballad
Pollyanna Vocal Male Ballad
Try a Little Tenderness Vocal Male Ballad
I Cover the Waterfront Instrumental Ballad
My Shining Hour Vocal Male Ballad
Unforgettable Vocal Either/BothBallad
The Way We Were Instrumental Ballad
Moonlight Serenade Instrumental Ballad
Sophisticated Lady Instrumental Ballad
Don't Worry 'Bout Me Vocal Male Ballad
Young at Heart Vocal Male Ballad
Dreamsville Instrumental Ballad
My Funny Valentine Vocal Male Ballad
Beauty & the Beast Instrumental Ballad
Tell It Like It Is Vocal Either/BothBallad
Into the Mystic Vocal Male Ballad
Disney Ballad Medley Instrumental Ballad
Young and Foolish Instrumental Ballad
I Just Called to Say I Love You Instrumental Cha Cha
Day by Day Instrumental Cha Cha
Do the Hustle Instrumental Disco
Lowdown Vocal Male Disco
I Just Want to Celebrate Vocal Male Funk
Down to the Nightclub Vocal Male Funk
What Is Hip? Vocal Male Funk
You're Still a Young Man Vocal Male Funk Ballad
Song of India Instrumental Jump
Opus One Instrumental Jump
Don't Be That Way Instrumental Jump
Jumpin' at the Woodside Instrumental Jump
In The Mood Instrumental Jump
I Can't Stop Loving You Instrumental Jump
I've Got You Under My Skin Vocal Male Jump
You Make Me Feel So Young Vocal Male Jump
Bugle Call Rag Instrumental Jump
Jump Jive & Wail Vocal Either/BothJump
Rockin' in Rhythm Instrumental Jump
Sing Sing Sing Instrumental Jump
Sugar Foot Stomp Instrumental Jump
Well, Git It Instrumental Jump
Choo Choo Caboogie Vocal Either/BothJump
One O'Clock Jump Instrumental Jump
Back Bay Shuffle Instrumental Jump
Four Brothers Instrumental Jump
Speak Low Vocal Either/BothLatin
Tango Medley Instrumental Latin
You'll Be There Instrumental Latin
I Wanna Be Like You Instrumental Latin
Green Eyes Instrumental Latin
Que Rico El Mambo Instrumental Latin
Perfidia Instrumental Latin
Something for Cat Instrumental Latin
Mambo #5 Instrumental Latin
Peanut Vendor Instrumental Latin
Over the Rainbow Instrumental Med Swing
Pennies from Heaven Instrumental Med Swing
That Old Black Magic Instrumental Med Swing
Cherokee Instrumental Med Swing
I Get a Kick Out of You Vocal Female Med Swing
All of Me Vocal Either/BothMed Swing
Moten Swing Instrumental Med Swing
I Remember Basie Instrumental Med Swing
Route 66 Vocal Male Med Swing
April in Paris Instrumental Med Swing
Take the "A" Train Instrumental Med Swing
Candy Instrumental Med Swing
Caravan Instrumental Med Swing
Jive at Five Instrumental Med Swing
Come Back to Sorrento Instrumental Med Swing
I'm Beginning to See the Light Instrumental Med Swing
Can't Get Out of this Mood Instrumental Med Swing
Miss Fine Instrumental Med Swing
Eager Beaver Instrumental Med Swing
Look for the Silver Lining Instrumental Med Swing
Sunny Side March Instrumental Med Swing
Broadway Instrumental Med Swing
Three Little Words Vocal Either/BothMed Swing
Let's Face the Music & Dance Vocal Male Med Swing
The Curley Shuffle Vocal Male Med Swing
South of the Border Vocal Male Med Swing
L-O-V-E Vocal Either/BothMed Swing
I Love Paris Vocal Male Med Swing
The Tender Trap Vocal Male Med Swing
You're Nobody Vocal Male Med Swing
Begin the Beguine Instrumental Med Swing
Perdido Instrumental Med Swing
String of Pearls Instrumental Med Swing
(Our) Love Is Here to Stay Vocal Either/BothMed Swing
Let's Dance Instrumental Med Swing
Stompin' at the Savoy Instrumental Med Swing
Have You Met Miss Jones? Vocal Male Med Swing
She's No Lady (She's My Wife) Vocal Male Med Swing
The Lady Is a Tramp Vocal Male Med Swing
You'd Be So Easy to Love Vocal Male Med Swing
Fly Me To The Moon Vocal Male Med Swing
I Won't Dance Vocal Male Med Swing
Just In Time Vocal Male Med Swing
The Best is Yet to Come Vocal Either/BothMed Swing
Come Fly with Me Vocal Male Med Swing
Witchcraft Vocal Male Med Swing
Nice & Easy Vocal Male Med Swing
Minnie the Moocher Vocal Male Med Swing
I've Got the World on a String Vocal Male Med Swing
The Mooche Instrumental Med Swing
Bye Bye Blackbird Instrumental Med Swing
Shiny Stockings Instrumental Med Swing
I've Heard That Song Before Vocal Female Med Swing
Rocks in My Bed Vocal Female Med Swing
Boogie Woogie Bugle Boy Vocal Female Med Swing
Splanky Instrumental Med Swing
I Get a Kick Out of You (Sinatra Version) Vocal Male Med Swing
Ain't That a Kick in the Head Vocal Male Med Swing
Always Vocal Male Med Swing
Puttin' on the Ritz Instrumental Med Swing
Bye Bye Blackbird Instrumental Med Swing
Theme Song Medley Instrumental Novelty
The Magic Trumpet Instrumental Novelty
Cocktails for Two Instrumental Novelty
Glowworm Instrumental Novelty
Soul Bossa Nova Instrumental Novelty
Always Look on the Bright Side of Life Vocal Male Novelty
You're the Boss Vocal Either/BothNovelty
It Ain't the Meat Instrumental Novelty
Front Page Rag Instrumental Novelty
Say Si Si Vocal Female Novelty
Can't Take My Eyes Off of You Vocal Female Pop
Signed, Sealed & Delivered Instrumental Pop
Domino Vocal Male Pop
Just the Way You Are Vocal Male Pop Ballad
Adios Instrumental Rhumba
Brazil Instrumental Samba
Let the Good Times Roll Vocal Male Shuffle
Stray Cat Strut Instrumental Shuffle
Sister Sadie Instrumental Up Swing
Waltz Medley Instrumental Waltz
Better Than Anything Vocal Female Waltz

Breaking Some Boundaries

Don’t get me started . . .

I’m putting this band together, making a thousand and one decisions, and I get some “suggestions” from a comrade in Atlanta (you know who you are) about expanding the tune list into areas that are decidedly non-big band.

I’ve been writing for the 4 horn band since 2000, pretty steadily, using Mustang Sally as the central focus and going outward from there. The result is a book of about 350 tunes that cover a lot of territory, from Asleep at the Wheel (Choo Choo Caboogie) to Tower of Power to Elvis to Sinatra to Motown and on and on. This book is based on what we’ve been asked to play over the years, and it seems like it hit the spot for certain folks having weddings.

When I decided to revive the old big band, formerly the New Flamingo Swing Orchestra, I had no intention of expanding the genre list into some of the Original Recipe areas. Gradually, however I realized that with all these horns it just makes sense to take some of the OR charts and, regardless of genre, fold them into the mix for the big band. Lately I’ve done this kind of upgrade for Tell It Like It Is, What Is Hip, Always Look at the Bright Side of Life, even Mustang Sally.

The idea is to have a great dinner set, ballroom dance kind of stuff, then sneak in a few post-big band things as the evening goes on.

On one level it is truly insane to set up an 11-piece band with singers additional in this tanking economy. On the other hand, I keep reminding myself that the Depression of the thirties was the golden age for musicians, because those who could hire them hired lavishly. Here are last month’s additions to the book:

It Ain’t the Meat, It’s the Motion--Benny Carter wrote this chart for Maria Muldaur in the late seventies, and the innocent Miss Marilyn degenerates when she sings it.

I Just Want to Celebrate--Rare Earth!

You’re the Boss--Brian Setzer doing Elvis and Ann-Margaret

Can’t Take My Eyes Off of You--Four Seasons, before it was a hotel

Signed, Sealed & Delivered--Recently popularized in some political campaign

The Curley Shuffle--Back in the Saddle Band, surely you must remember

and the holy trinity of Tower of Power tunes:

Down to the Nightclub

You’re Still a Young Man

What Is Hip?

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Now if I were hiring a wedding band, I’d go with the most versatile tune list and hope they can pull it off. (I’ve heard enough rock bands try to swing to Satin Doll to know that this is the direction we have to go rather than the other way.)

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In other news, we are recording in Los Angeles. Best cats for sightreading, best studio rates, and an opportunity to record with some of the cats who did the demo recording at KingSound Studios back in 1981. Still active are Tom Scott (who was not on the demo but played most of the gigs afterward on lead trumpet), Steve Johnson on trombone, Charlie Oreña on baritone. My brother Jimmy on drums, who was in the Navy back then I think, who will play a kit supplied by the great Jimmy Ford. Going to nail down some dates when Steve gets back from Bay Area gigs next Monday.

Thinking about Kenton

I found this clip on YouTube and it might explain why, fight it as I will, I’m just a tiny satellite that once orbited Planet Stan. I was always convincing myself that I wanted to play in the Basie band, but I never got close. Kenton was another story.

I was at a concert where Stan expressed an interest in my father’s work, back when I was 14. (My dad finished the spec chart a month before he died.) Kenton expressed a passing interest in my alto playing and gave me enough encouragement to really set me on fire. I practiced more than ever, did a few gigs with my dad’s friends playing baritone, and listened to a lot of music constantly.

That was when we were in Connecticut, and we were to go back to California soon after the Kenton concert, then back to Connecticut, where my father died.

It was only later that I learned that my dad had a big band that used to rehearse when I was 12.

So, on this YouTube clip there are Quin Davis, Kim Frizell, Willie Maiden, all three of whom had played in that band, back in Orange County.

Mike Vax, the lead trumpet player, was the leader of the band I played in at the 1970 Kenton clinic in Redlands. Ray Brown, one of the jazz trumpeters, was the only arranging teacher I ever studied with besides my dad, at Cabrillo College, outside Santa Cruz.

Ramon Lopez, the guy playing congas, was my roommate when Dick Shearer, the lead trombonist and band wrangler, called me for the gig on high baritone. (Unlike most big bands, the Kenton band had one alto, two tenors, and two baris, one of whom used to double on bass sax.) Dick had heard me at a concert in Santa Cruz where the Cabrillo Band opened for Stan. The year was 1974. Stan died in 1979.

And of course, though he’s not on this clip, Tony Campise lives right here in Austin, and doesn’t get nearly the respect he ought to for all he’s done.

I think I’ll listen to “Live at the Tropicana,” one of the most straight-ahead of the Kenton recordings. Then maybe a little Basie.