Once again, I extend my sincerest thanks to each and every one of you for your good wishes in line with my medical condition. Things are improving and healing well, though there will be additional treatments and surgeries down the line. The immediate concern, not just for me but for all of us in the states, is the insane prices being charged for essential prescription medicines. By and large, medical insurance only covers a fraction of this, so I would ask you again to take advantage of our JazzLegends $15 sale–now extended through Labor Day–and order as much as you can. Though we always work on the honor system here, because we offer free shipping worldwide, we do ask that you order a minimum of two items to defray these costs.

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There is often a price to pay in some form when trying to keep up with what is considered state-of-the-art these days. Specifically, I am speaking of our brand new, stellar, high-tech web site, and the great community that is coming out of it. I have received nothing but glowing comments on the site, but the price to pay I speak of has to do with a frustrating glitch or two that we’re working on. Several of you have thankfully contacted me directly after attempting, unsuccessfully, to contact me by way of the JazzLegends.com web form. A few of you seemed to think that I dropped off the face of the earth, as I did not receive emails noting that you were attempting to contact me about shipping dates, questions about product, etc. The contact form on the web, quite simply, stopped working. We have now put in place a foolproof–we hope–contact email icon that will put you in touch with me directly and personally. Have a problem, an issue, a request, a question? Email me at DrumAlive@aol.com It’s that simple, and you have my apologies for the tech breakdown.

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In addition to the unbelievable Krupa discoveries that have come to us by way of great friends and colleagues like Bob Bierman and Dean Platt, we will continue to endeavor to offer items by other players and drummers that will, without doubt, be of interest to each and every JazzLegends supporter. Examples? The best print of “Las Vegas Nights” featuring Tommy Dorsey and the crew, The Steve Goodman Trio’s singular jazz version of Broadway’s “Phantom of the Opera” (featuring a guy named Klauber at the traps), and now the film “Second Chorus,” starring the 1940 version of the Artie Shaw big band. There aren’t many examples of the Shaw band on film, so this is well worth having. Rumors still abound about the drummer on the soundtrack of “Second Chorus.” Nick Fatool, in all his glory, is seen onscreen, but if you listen closely, the drummer who preceded Fatool in the Shaw band may actually be playing on the soundtrack.

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Joy Adams and I want to thank the large and enthusiastic crew who joined us for our short stay at Dino’s Restaurant in Naples, FL. Dino proved to be a fine host and the venue was a fun and intimate one. Our group, consisting of pianist Jean Packard, bassist Frank Begonia and trumpeter Bill Papineau was superb. We also want to thank the many supporters in attendance, including guest players Gus Maywald on saxophone the great voice of Rosemarie Smedile. Others special guest stars in the room that night included vocalist Jebry, guitarist Dan Smedile, pianist Mel Rosen, drummer John Lamb and others too numerous to mention. Upon our anticipated return to Naples in September, given that health issues hold up, we will hopefully take on another engagement or two. This has been a busy off-season for Jebry, one of our great vocalists. And musically, to our ears, she’s never been better. By the way, our thanks to Jeb and Bobby (“World’s Greatest Drummer”) for letting Joy and I “borrow” their band for a night.

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We’ve given a good deal of space over the past several years to the wonderful line-up of talent appearing at The Naples Philharmonic Center for the Arts. The 2008-2009 season has just been announced, and jazz-wise, the slate is as impressive as ever. Attractions include Wynton Marsalis with the Lincoln Center Jazz Orchestra, Dianne Shurr, George Benson’s tribute to Nat Cole, smooth jazzers David Sanborn and Dave Koz, genre’ benders Turtle Island Quartet, Ernestine Anderson and Phil perennial Dick Hyman with Eddie Metz, Jr., Howard Alden, Alan Vache, Randy Sandke and more. There is one, very interesting surprise at The Phil this season. Whatever your personal take is on singer/pianist Michael Feinstein, he certainly has brought the legacy of American popular song to a wider public. So give him credit where credit is due. He did record for Maynard Ferguson, after all. Feinstein’s show at The Phil this season is a salute to Hollywood and MGM musicals, and there are two special guests set to be featured. One is 1950s, B-movie actress and cosmetics mogul Arlene Dahl, and I have no idea what she’ll do on the stage. The other guest is a singer Frank Sinatra once said had “the best pipes in the business.” He was referring to the one and only Vic Damone who has supposedly been retired since 2001. Check out Vic’s website for the actual story. I don’t know who–or what convinced this great artist to come out of retirement, but watch this space for updates and more information.

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Our Buddy Rich collection of original VHS videos from the 1970s–on the Carson, Cavett and Merv Griffin programs–is still up for bid. Contact me about this, or for any other reason, at DrumAlive@aol.com

Keep swingin’
Bruce Klauber
July, 2008

Drummers, by and large, are apolitical animals. That's because they're usually just animals. This is why I've steered clear of saying anything political, outside of a recent column I wrote for the Naples Daily News on the late, perennial Presidential candidate, Harold Stassen.

But the present situation in the United States, specifically the out-of-sight prices of gas, is impossible for anyone–drummers, saxophonists, pianists, brass players and even string players–to ignore. Gigs for jazz players, or any players, have always been tough enough to get. Now? It just can't get any worse.

The powers that be in The White House, and whomever else is responsible for this embarrassing and deplorable state of affairs, appear to have ignored the fact that five dollar a gallon gas prices–and five dollars is where prices soon will be–effect everything and everybody. No one and no business is exempt.

Let's make matters simple: Venues that use live music are in more trouble than usual. Food and beverage prices are high because of the high cost of fuel needed to transport and manufacture food and beverages and everything contained in food and beverages, from sugar and corn to packaging. High prices in restaurants, and the high cost of travel to places that use live music, mean fewer customers. This means cutbacks, and we all know that live music is often the first to go. The scenario is an obvious one, but it's really bad right now. I'd be interested in knowing how many JazzLegends.com visitors have lost gigs or have been cutback in recent months.

While spending fifty bucks to fill the tank of my 1995 Olds, I've often thought of exactly who is responsible for these ridiculous gas prices. Is it one guy who calls the gas stations and says, “Okay. Raise the price two cents today.” Who is this guy and why can't anyone find him? And, pray tell, just what would happen if the decision were made–tomorrow–to lower the price of gasoline at the pump, everywhere in the country, to two dollars a gallon? Would the world end? Would there be revolution in the streets? Would people go hungry? Would we all die? Two bucks a gallon. Just what would happen in the United States beyond making a bunch of people very happy?

The problem now of course is finding the guy who makes the calls and convincing him to drop prices by two bucks. I'm telling you. It's a guy. And Bush knows who he is. Bush calls this guy first and tells him how much to raise prices.

If there is ever going to be a resolution to this problem, we must find out who and/or what is to blame. Currently, we're not even close.

The President's latest gambit is to blame a Democratic Congress for soaring oil prices. Incidentally, others named in the “who's to blame” sweepstakes have included the Arabs, the Saudi's and the oil companies. Eight years ago, when gas prices increased a penny or two, one consumer coalition blamed Al Gore.

High gas prices are central to Gore's political philosophy, and he has deliberately tried to raise them during his entire career in Washington, said Consumer for a Sound Economy's Director of Environmental Policy, Patrick Burns, in 2000. Whether it's casting the deciding vote to raise gas taxes, preventing domestic production of oil, or slapping costly regulations on consumers and producers the responsibility for the current crisis rests squarely on Gore's shoulders.

Right. It was all Al's fault. Hey, maybe he's the guy on the phone. But he showed them all. He won the Oscar. Just like Sinatra.

This is interesting. Not only will no individual, no organization or no country take responsibility for the gas price situation, but the most brilliant minds in the universe don't even know where to look for the responsible party or parties.

This recalls a personal incident of a few years back. I had received a check in the mail for services provided to a national company, and they inadvertently listed both my name and my then-company name as the payees. The company name was never registered, nor was their a business banking account created with that name. It was just something I used back then to call my company.

I took the check to my local bank branch to deposit it. I guess because it was somewhat sizeable, the teller inspected the document closely and asked who the company was. I explained that the company was really me and that it was just a name I used to describe my business. The teller then voiced true concern about whether or not the check would ultimately be accepted for deposit.

I went to the branch supervisor, showed her the check and asked her who makes the decision about whether or not a check is accepted for deposit? The answer was that the paying bank–the name of the bank on the check–decides if the payees, the endorser, etc., appear to be correct and in sync. If so, the paying bank pays and everything goes through properly. Then again, the branch manager said, banks don't look at each and every check for this, so my check might go through or it might not go through.

“How would I find out in advance whether it would go through or not?” I asked the manager. “Call the paying bank,” was the reply.

It took nearly five hours of telephone work the next business day, but I finally got into the main office of Mellon Bank and the division of that office that handles these things.

My question to that office was simple: Who decides whether a check will be accepted for deposit if, as in this case, there is more than one payee and endorser listed. Is there a person–a guy–who decides this, and if so, could I please speak to them?

The answer as to who makes decisions like this? There was no guy. There was no department. There was no individual. There was no office. It wasn't really an automated process, either. Computers, though, may be involved. Bottom line? No one knew, or no one would take responsibility for knowing. From what I heard, the check could have been made out to Stan Getz and it would have gone through.

Maybe, just maybe, the guy who makes the decisions on checks is the guy calling the gas stations. Let's check Gore's phone records. Then let's book him on a “728.” And what's a “728?” I don't know. But I know a guy who knows.

I'll bet that Bush, Cheney, Congress, Iran, Iraq, the oil companies, the Saudi's, and all those who have been accused of ruining much of our country didn't know that their shenanigans would hurt America's only original art from. Jazz.

Now things have gone too far. In one opinion, mine, the administration that has been serving in Washington for the last eight years has destroyed virtually every area of our society. Jazz is one of the few things we have left. Let's see that we save it.

Meanwhile, in a cover story in Rolling Stone magazine, Senator Barack Obama, presumptive Democratic presidential candidate, said that his iPod includes music by Miles Davis, Charlie Parker and John Coltrane.

Right now, probable Republican presidential candidate John McCain, whose daughter as long worked for Capital and EMI Records, has only said publicly that he enjoys the work of 1980s rock group ABBA.

Great.

You would think that Gene Krupa would have an FBI file that measures three feet in thickness, if only because of the unfortunate drug incident of 1943 and the reams of press surrounding it. Surprisingly, that is not the case. Some months ago, under the Freedom of Information Act, I petitioned the FBI and the U.S. Department of Justice to release any records in their files related to Gene.

There are 14 pages in Gene Krupa’s file. Twelve were released to me. The two pages not released had to do with medical records which would constitute an invasion of privacy, and some info that may or may not have disclosed a confidential FBI source.

The majority of the papers carry a date of February, 1949, specifically February 12, 14, 16, 18, 21 and 23. These records are pretty difficult for the lay person to decipher, but it appears that on or about February 12, 1949, the office of Canadian Immigration contacted the FBI for a background check on Gene. The “FBI Radiogram” from that date reads, “Gena (sic) Krupa…please advise by radio if any criminal record at Bureau. Subject described as well-known dance band leader, age 39, native of Chicago, present residence 10 Ritchie Drive, Yonkers. Report received subject possibly was charged in California with contributing to delinquency of a minor. No further particulars available.”

(In all probability, Gene was playing at a venue called the “Armories” in Brockville, Ontario, which opened for business in 1948 The “rat” could have been someone at the Liquor Control Board there, in that liquor laws had been substantially relaxed in that year and there could have been concerned about having a wild-eyed “hophead,” i.e. Krupa–performing in a liquor-serving establishment. Just speculation.)

The rest of the documents relating to this incident, which must have had to do with a gig in Canada with or without the whole band, detail the sad events of Gene’s January 19, 1943, the actual charges against him, his time in jail, fines paid, and just what charges were overturned.

For those interested in such things, the actual fine for the misdemeanor charge of contributing to the delinquency of a minor was $500. On May 18, he was sentenced to 90 days in jail but got out a few days early because of good behavior. However, on June 30, a jury found him guilty of a felony charge, “hiring and employing a minor to transport narcotics; marihuana cigarettes (sic).” He was sentenced to an unspecified term in San Quentin prison. Out on $5,000 during the appeal process, the felony charge was reversed by the California District Court of Appeals on June 30, 1944, because of double jeopardy.

On September 24, 1953, it again appears that Canada was suspicious of Gene, as a “Liaison Representative” from Ottawa, Ontario, seems to have asked the FBI for up-to-date dirt on the drummer. The reply, from none other than Ms. J. Edgar Hoover, reads, “Records of the FBI Identification Division reflect no reported arrests for Krupa since 1943.” Someone in Ottawa must have really had it in for Gene, as almost two years to the day later, the “Liaison Representative” asked about the dates and availability of fingerprint files within the FBI offices. The Bureau replied that there were no fingerprints taken after the 1943 incident.

Maybe this Canadian guy didn’t like be-bop. Or drum solos.

More interesting than the files themselves is what is not included. After all, in 1952, Krupa was the first American jazz performer to visit Japan, and during his during his Jazz at the Philharmonic days, he was all over Europe and points north and south. In the late 1950s, under Norman Granz’ aegis, he again toured Europe, and in the 1960s, went to South America and Israel, among other locations. And presumably, he was an annual visitor to the Frankfurt Music Fair, representing the Slingerland Drum Company, until he was too ill to travel around 1972.

Of all the cities and countries Gene visited in the world, only Canada caused a problem. Maybe someone knows the reason why.

There have been a few stories written in recent years, notably in Gene Lees’ “Jazzletter,” that suggest Gene was hounded by law enforcement officials, particularly during his Las Vegas tenures in the 1950s at the Frontier Hotel. Let the record finally show, that at least according to the FBI, he was not.

When I first went through all this paperwork and saw most of it dated 1949, my first thought was that some or all of this may have had to do with a messy drug situation that occurred within Gene’s big band in that year.

However, that incident happened in late July, five months after the Canadian nonsense. Although it was widely reported in the press at the time, and Gene was said to be very, very angry about it, what happened in Detroit on or about July 26, 1949, hasn’t been discussed for years. Since we’re on the subject of file openings, here’s what happened, courtesy of a Chicago Tribune article dated July 27, 1949.

It seems that three members of the Krupa band–guitarist Ralph Blaze, trombonist Herb Randel and trumpet John Bellow–were accused of possessing marijuana and later arrested at a downtown Detroit hotel. Presumably, the band was playing a theater or club in Detroit at the time. Police found Blaze in possession of two reefers and a pipe. The two members of the brass section were in for bigger trouble. They were found with cocaine, in addition to the pot, and ultimately pleaded guilty to violating federal narcotics regulations and were released on $1,000 bail pending sentencing. I don’t think Bellow or Randel did any actual time.

In addition to the drugs, Detroit police found three, 18-year-old girls in the hotel room. Two were from out of town and said they flew in to visit Randel and Bellow. The third was a home town girl who said she met Ralph Blaze “a week ago.” Blaze and the ladies were not charged with anything.

After leaving Krupa, Ralph Blaze had a long and successful career with Stan Kenton and many other west coast groups, and also established himself as a respected sculptor. He was active in the recording studio and in live performance into the early 1990s.

Herb Randel, a reliable section man, spent some seasons in Woody Herman’s 1950 to 1951 “Third Herd” after being relieved of duty by Gene (Woody had more tolerance for bad boys back then). Randel seems to have fallen off the radar screen after 1951,

John Bellow showed up in the trumpet section of a 1958 Charlie Barnet band and in a Quincy Jones-led studio group that backed Billy Eckstine in 1961. Tom Lord’s incisive discography, which lists Bellow as “Bello,” says he participated in 63 recording sessions from 1946 to 1964. After that, nothing.

Some good things happened in 1949, including some nice recordings for Columbia and Roy Eldridge’s happy return to the band, which lasted from February to October. I get the idea, however, that the Detroit incident, coupled with sad state of the band business in 1949, really helped sour Gene on the idea of keeping the large group together much longer.

The decision was almost made for him. In 1950, he lost his long-time Columbia Records contract and his switch to the RCA label was brief and not very productive. In the beginning of 1951, he cut down to a 12-piece crew. They sounded awful. Check out the JazzLegends.com CD entitled “Gene Krupa: London House 1964 and Cavalcade of Bands 1951″ for an example.

In retrospect, it is simply incredible that Gene Krupa was able to keep a big band of any kind together until almost 1952. Benny, Woody, Les Brown, Dorsey and Basie gave up in 1950 (although all but Benny would ultimately re-form) and Ellington was barely hanging in there.

Gene would play, and play very well, in big bands again, on record and in person, but only for record sessions, special concerts or television shows. From 1952 until his death in 1973–21 years–this big band icon was a small group drummer.

Update and correction:

Our good colleague Mike Berkowitz, the marvelous drummer, conductor and leader of the wonderful “New” Gene Krupa Orchestra, has been kind enough to update us as to the whereabouts of trumpeter John Bello, who played on the 1949 Krupa band. Earlier in this column, I said I could find nothing on Bello beyond a 1964 record date.

This demonstrates the current limitations of the web as a research tool–and in this case, the current limitations of the researcher as well–especially when it applies to jazz.

As incredible as Tom Lord’s “Jazz Discography” is, how can researchers track a musician who played and recorded a whole lot of music that might have not been jazz?

Bello, by the way, is the correct spelling of his name, which has sometimes been listed as “Bellow.” He lived, according to Mike Berkowitz, in the Philadelphia/Atlantic City area for many years, and Mike actually used him on some band dates there. In earlier years, he also worked extensively with Maynard, Quincy Jones, in a number of Broadway pit bands, etc.

What is particularly astounding is that Bello was, for some years, Judy Garland’s lead trumpeter, having appeared on dates under the baton of Mort Lindsey, Bill LaVorgna and Howard Hirsch. Every Garland fan certainly has a copy of the famed, Carnegie Hall concert recordings. Lead trumpet player on that date: John Bello.

Our apologies to Bello, who lives in Florida and still plays with rehearsal bands here. And our thanks to Mike Berkowitz, who is, indeed, “extraordinaire.”

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Drummer Bobby Durham, one most versatile and technically able players in the world of jazz percussion,  died at the age of 71. 

Durham, who never really received the attention he deserved, was a rarity in jazz:  He was equally at home driving a big band (his five years with Duke Ellington being a great example), in a trio setting (his work with the Oscar Peterson Trio was legendary), and backing a jazz singer, via his 10-year tenure with Ella Fitzgerald.

He was born in Philadelphia, learning drums there at a young age.  At 16, he was good enough to be a part of the band backing R & B pioneers, The Orioles.  When discharged from the Army in 1959, after three years in the Army band, he continued his work in the R & B area, most notably with King James and later with Lloyd Price.  He ultimately joined Lionel Hampton’s band, which was a natural extension of his R & B roots, before moving over totally to jazz with players like Basie, Ellington, Harry “Sweets” Edison, Grant Green, Shirley Scott and many others.

In the mid-1970s, he formed an alliance with trombonist Al Grey, whom he met on the Basie band.  For several years, they both headquartered in Philadelphia, performing frequently at a club fronted by Grey called “Just Jazz.”

The club was actually owned by a veteran tap room owner named Jack Manoff, who was a distant cousin of mine.  That, coupled with the fact that I was reasonably active on the Philadelphia jazz scene at the time, meant that I was given virtual run of the place.  Guitarist Jimmy Bruno and I often sat in with the Just Jazz house band that featured Grey and Durham.  On one fateful night, reedman Sonny Stitt was the headliner, and the fearless Bruno and Klauber ended up on the bandstand playing “Cherokee” at a ridiculous tempo and in a ridiculous key (Sonny could be that way with those he perceived as amateurs).

We got through it somehow. 

I spent much good time with Bobby Durham that night and on other evenings at “Just Jazz.”  He was especially proud of being one of the first  endorsers of Fibes drums, and loved to show off his shiny, fiberglass-covered-with-chrome kit (I got my first Fibes set because Bob got one!). New drums aside, I was specifically interested in how he was able to keep those mile-a-minute tempos going without rushing, without dragging but always swinging. 

He always maintained that relaxation was the key, and that problems will only present themselves when a player would push or tense up.  I remember saying, “Yeah…that’s because you can do it.”  He could only say, “You can do it, too.”

In terms of his solos, he was more influenced by Buddy and Louie than anyone realized, and while he enjoyed the spotlight, he insisted that soloing was just something he was asked to do.

He never led a record date of his own and as time went on, he more or less accepted the fact that he wasn’t going to become a household name. That’s a shame.  He should have been.

Still, he played and swung with the best of them. Up until yesterday, only three living drummers could say they played with Basie, Ellington, Ella and Oscar.  They were Ed Shaughnessy, Louie Bellson and Bobby Durham.  Now there are two.

God bless them all.

Dr. Bruce H. Klauber