JazzLegend.com friends:

Herewith is a chapter of a new book in progresss, with the working title of “Life with the Legends: Walking with the Showbiz Icons.” This segment is representative of a pretty singular instance, in one opinion anyway, and concerns how I got invited to the famed, 50th birthday celebration that the late literary icon, Norman Mailer, threw for himself in February of 1973. It was quite a night. Enjoy!

From 1971 to 1973, pianist/record producer Andy Kahn and yours truly performed in a musical group that we had the nerve to call “The All-Star Jazz Trio.” Kahn and I had been playing together since we were kids, with me on drums, and a number of bass players. By the time we turned 18, we had become decent jazz players. Well, enthusiastic ones anyway.

In 1971, there was virtually no live jazz to be heard in center city Philadelphia, but that didn’t stop us from approaching a restaurant/club– called “Skewers” and located on tony Rittenhouse Square–about presenting live jazz several nights a week. If memory serves, Andy Kahn played solo piano the first night, I brought my drums down–for free–the next night, and the following night a bass player who had been enjoying us from the bar joined us. We were booked five nights per week, and it didn’t take long for the whole enterprise to pick up steam.

All the real and wannabe jazz fans came out of hiding to hear these rambunctious, 18-year-olds, if only because Philadelphia jazz fans had nowhere to go after the demise of clubs like Peps, the Showboat and New Jersey’s Red Hill Inn. It didn’t take long for musicians to get the word about the action, and we had our share of well-known “sitters in,” including Pepper Adams and Jerry Dodgian of the Thad Jones/Mel Lewis Jazz Orchestra, pianist Bernard Peiffer, Ronald Reuben and Glenn Dodson of the Philadelphia Orchestra (we later recorded with Reuben and Dodson), and on one evening, just about half of the Woody Herman Orchestra. We even hired our own press agent, who made sure our names appeared in the gossip columns regularly in exchange for a $25 per month fee.

Supporting us through the years in our musical endeavors was a dear, dear friend, who left us much too soon some years ago, named David Kay. Kay was not a jazz musician. He was a fan and listener who was exposed to the real stuff in New York City at a young age. His mother was jazz singer Carol Stevens, who recorded several impressive projects for Atlantic Records backed by the likes of Herbie Mann; did very well on the New York jazz club scene; and got some great write-ups in the trades and even in Time magazine. Since 1969, Stevens had been living with Norman Mailer, the literary giant and larger-than-life personality who passed away on November 10th of last year at the age of 84.

Always the publicity hound, which is why Mailer was as much a “personality” as he was a writer, he decided in February of 1973 to throw himself a 50th birthday bash. But this would be no mere party. It would be held at the Four Seasons hotel in New York City with 550 of Norman Mailer’s closest friends as invitees. In true Mailer style, he decreed that each and every one of the 550 people invited would have to pay $30 per person (then a hefty fee) to attend the bash. Evidently, all or most of them paid up, and the guest list included some major names, like Shirley MacLaine, Muhammad Ali and then-Senator Jacob Javits. A couple of somewhat lesser names were also on the guest list, courtesy of David Kay and his mother. Those names were Andy Kahn and Bruce Klauber. And we didn’t have to pay the $30 admission fee.

I have no recollection of just how we got to New York. I suspect it was either in Kahn’s Fiat or my Vega. However we did get there, what we witnessed upon our arrival at The Four Seasons was absolutely incredible. People were jammed in everywhere, and there were big stars at every turn. The crowd was buzzing in anticipation of Mailer’s remarks that were to be made later that evening. He was supposed to be saying something of major, international consequence (long-time Mailer foe Gore Vidal once commented that everything Mailer ever said in public was supposed to be of major consequence).

Kahn and I were greeted by our friend David Kay, his mother, and surprise of surprises, the “Man of the Hour” in person. Mailer was quite gracious, and said something to the effect that he heard of the fine work we were doing as young jazz musicians, and that he understood us to be “quite talented.” I don’t remember whether or not he patted us on the head.

Then the music began, and this was music of the real, all-star variety. The players included baritone saxophonist Pepper Adams, who had kind of taken Andy and I under his wing when he played with us in Philadelphia; composer/multi-instrumentalist David Anram; and the legendary bassist /composer Charles Mingus. Pepper Adams tried to make us feel comfortable and at home. I think he realized that one of us–that would be me–was in way over his head that night. Andy Kahn, who had been in show business since childhood, was not in over his head. He was in his element.

One of the many real novelties of the evening had to do with just how the food was served. This night, guests were invited to get whatever they wanted–from desserts to appetizers to entrees–direct from The Four Seasons kitchen and eat in the kitchen if they so desired. None other than Charles Mingus himself made sure that Andy and Bruce, the two young jazzers from Philadelphia, were escorted properly into the Four Seasons kitchen. Mingus suggested that we all dine on apple pie, which he deemed “the best in the world.” It was, and the Charles Mingus who was said to be among the most volatile personalities in the music world, was not on view that evening.

Then it was time for the birthday boy’s big speech, the one that would be of major, international consequence. Mailer sauntered up to the microphone in front of 550 adoring fans. It soon became clear, however, that the honoree may have downed too many bourbons too quickly.

The notoriously anti-feminist Mailer began his remarks thusly: “A lot of people ask me,” he said after the applause had died down after his introduction, “why I associate with so many worn-out, older women. Well, I’ll tell you why. Because they’re all the same once you get past the old, worn-out part.” Hoo boy. And that was just the start of it.

His remarks only went further downhill from there. Mostly, he was rambling semi-incoherently, and the portion that was supposed to be of major consequence had vaguely to do with a citizen’s agency that he wanted to set-up to investigate the CIA. He called it “The Fifth Estate,” or something like that.

The evening seemed to slowly deflate after that, but the partying, eating and drinking continued long into the night, though not with the same fervor. I was ready to leave. Andy Kahn, bless his heart, wanted to stay until morning.

I again have no recollection as to when we got back to Philadelphia and how we got there. What I did know was that we had a singular experience that defined jazz and defined New York City during those great days.

I wish I had a photograph of that night, but I do have one memento. Our press agent certainly worked overtime for us in this case. A day or two after the party, an item appeared in the entertainment column of the Philadelphia Inquirer that read in part, “Andy Kahn and Bruce Klauber of The All-Star Jazz Trio playing at Skewers, were Philadelphia representatives and invited guests at Norman Mailer’s 50th birthday party held at New York CIty’s Four Seasons hotel.”

It’s true. I still have the press clipping. Andy and Bruce were, indeed, there.

Thankfully, the presidential election is over. And thankfully, someone else will be the President of the United States as of January 20, 2009. I have no quarrel with the character or intellect of John McCain, though I have been questioning the latter via his interesting choice of Sarah Pallin as Vice President. President Elect Barack Obama deserves our respect and support. Yes, he may be a bit short on the experience side–which is why his choice of Joe Biden as VP was such a good one–but above all, Obama is, quite simply, an inspiring presence on a scene that really needs some inspiration.

But let’s get our priorities in place. Sure, the economy is in shambles as is just about every other area of our society, and sure, we’re at war. But we all know what the most important issue is here at the site: Jazz.

With that in mind, our crack team of investigative reporters has discovered the President Elect’s history with jazz and his true feelings about it.

According to a February 8, 2007 profile in the Honolulu Star Bulletin newspaper by B.J. Reyes, which covered Obama’s time spent at a Honolulu prep school, “Barry” Obama started listening to jazz in earnest while he was in junior high school. “Barry was into things that other kids our age weren’t into,” said a one-time Obama school mate Dean Ando. “I remember when we went into a record store just to browse. He went through the entire jazz section while we were there. That affects me to this day. He’s the one who introduced me to jazz. When everyone else was into rock, Obama was into jazz.”

In terms of his favorites, those in the know claim that Obama is a big fan of Miles and Coltrane. And Herbie Hancock made an appearance in one of Obama’s television commercials. No word yet about the President Elect’s feelings about Eddie Shu.

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There’s a new book out on Sammy Davis, Jr., entitled “Deconstructing Sammy,” written by a newspaper and magazine investigative reporter named Matt Birkbeck. My recommendation? Pass it by.

Whatever your feelings about Davis, there is no denying that he was among the most versatile and energetic of performers. No one has come along before or since who had the range of talents he had, which included singing, dancing, comedy and some swinging instincts as a multi-instrumentalist on drums, vibes and trumpet. His knowledge of jazz was encyclopedic, and in terms of breaking down racial barriers in the entertainment industry, Davis was a maverick. . Until he sadly became a caricature of himself in later years, he was something to see, and I was fortunate to have seen him many times. I spent some time with him at Atlantic City’s Golden Nugget Hotel and Casino shortly after he had hip replacement surgery in 1985. I was struck by the fact that he didn’t seem to be a happy fellow until he hit the stage. Remembering that he was responsible for engineering only one of two filmed appearances (that we know of) of Gene Krupa and Buddy Rich together (available on “Buddy Rich Jazz Legend” and “Gene Krupa: The Champ” on this site), and recalling that drumming was once a part of his stage act, I asked if he was still playing. “I put the drums Buddy gave me in storage,” he said. “The more I listened to Buddy the more I realized I could just never, ever be that good. No one could. So I gave them up.”

Unfortunately, Sammy Davis is best known today, if he is known at all, for things other than his music. And that’s what this book is about. It focuses on his alleged mob ties, admittedly legendary tangles with the Internal Revenue Service, the suffering and illness of his widow, and other juicy tidbits that have nothing whatsoever to do with why Sammy Davis, Jr. was famous during his lifetime. And presumably, it was Davis’ fame as an entertainer that made the publication of this book possible, but author Birkbeck all but ignores his talents, capabilities and contributions as an artist. “Deconstructing Sammy” has my vote for the most depressing book of the year. It’s like watching an autopsy. If that’s your taste…solid. Go out and buy one of Sam’s records or DVDs instead.
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The 100th birthday of the man who made the drums a solo instrument, Gene Krupa, will be upon us on January 15, 1909. Modern Drummer magazine plans a tribute of sorts, and in the newest issue of Down Beat magazine, one of my favorite human beings, John McDonough, has a good piece on Gene and several other drumming legends, including Sid Catlett, etc. McDonough, of course, continues to refuse to acknowledge the existence of the Krupa or “Legends of Jazz Drumming” DVDs, but that’s not going to change. There is serious talk of a few major, major events that will celebrate Gene’s 100th, so watch this space. Carefully.

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We often get emails about the availability of Krupa big band charts. There are several sources out there, but one of the very good ones is EJazzlines.com, who also offer just about every commercially -issued DVD and CD in the universe. Charts include “Disc Jockey Jump,” “Boogie Blues,” “Opus One,” “Leave Us Leap” and several others. On some of the Krupa charts I’ve obtained through the years, the orchestrations were about 89 percent faithful to the originals. There were some wholesale changes made here and there, for reasons that I still cannot figure. I hope the ones out there today are a bit closer to the originals. The only way to ensure complete accuracy is to go to the expense of having someone transcribe the charts right off the record.

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Our good colleagues at www.DrumChannel.com are now in the Beta testing phase of what is certain to be an incredible, 24-hour internet drum channel. Even at this early testing stage, DrumChannel is incredible. Log on and join up to read incisive bios, get lessons, trade information, view vintage footage (check out the promos of the legendary Buddy Rich show from the Statler Hilton hotel) and much more.

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We continue to do our bit for the economy by offering everything we’ve got for $10 per. But again, we do ask that you please seriously consider buying more than one item at a time so that we can continue to provide free shipping all over the world. Until then, keep swingin’

Bruce Klauber
November, 2008

I cannot think of a business or an individual who has not been touched by the unfortunate economic situation in this country in some way, shape or form. JazzLegend.com is no exception. After all, is there really a choice between filling the gas tank or spending $20 for a Gene Krupa DVD? While I’m confident that a good many of you, and God bless you for it, would go for the Krupa DVD, most just cannot. And I understand. Over the summer, we experimented with the idea of pricing each and every JazzLegends.com DVD, CD and book at $15, with free shipping worldwide, of course. The response was so overwhelming that we are still, believe it or not, fulfilling orders. In an effort to lend an assist to the economy, the thousands of collectors out there, and to benefit JazzLegends.com, we are changing our pricing structure for the immediate future: Everything is, once again, $15.

Please take advantage of this extraordinary price break, and please be patient with delivery. As many of you know, each order is custom made, custom duplicated and custom shipped, and if something is not right or not exactly what you wanted or were looking for, we hope we’ve demonstrated our desire and ability to go to the ends of the earth until everyone is happy.

The only thing we ask in return is, given the low, low price and the fact that we continue to offer free shipping all over the world, please think about ordering more than one item. That’s all we ask.

Despite our recent rants about YouTube and the “vintage footage for free” situation, there are still outfits out there who know there is a market for unearthed discoveries. The folks running the “Jazz Icons” organization is one example. Another is Drum Workshop, Inc., one of the world’s premier manufacturers of quality drums, and certainly the makers of the best drums in the United States.

Drum Workshop, in addition to prepping the internet DrumChannel.com, has gotten into the DVD business in an impressive way. In the coming months, look for three of the most sought after programs in jazz drumming history: The famed, Buddy Rich, Statler Hilton programs.

For those unfamiliar with the shows, here’s a bit of background

Collectors of Buddy Rich material, and there are many all over the world, have their “Buddy Rich holy grail list. The “Eddie Condon Floor Show” television programs from the late 1940s, where Rich relaxed, sang, played and danced with dixielanders and mainstreamers, are high on that list. Right now, only some audio portions have been discovered.

Then there are those who still believe there is film from the Krupa and Rich “original drum battle at Jazz at the Philharmonic” of 1952. Norman Granz, the late producer of JATP and mastermind behind the famous duel, repeatedly denied there was any film taken of Gene, Buddy or any Jazz at the Philharmonic show.

The third item that has been discussed by collectors and fans throught the years are the Statler Hilton Shows.

In the past 10 or so seasons, there wasn’t a year that didn’t go by where someone stepped forward and claimed to have or own the shows and/or to know someone who did. A snippet or two did surface, but nothing ever more than a tantalizing minutes’ worth. Now, thanks to Drum Workshop and Cathy Rich, they will soon be in wide release, in all their mesmerizing entirety.

It would have been great if Rich had been able to do television programs like these on a regular basis throughout his career. They combined all facets of his talents as a player, as a personality and as champion of jazz.

And, of course, he was no stranger to television, having appeared often during the 1950s on “The Steve Allen Show,” “Broadway Open House,” “The Marge and Gower Champion Show,” “The Patti Page Show” and various others. And from the 1960s through the 1980s, hardly a month went by without an appearance on programs hosted by Johnny Carson, Dick Cavett, Merv Griffin, Mike Douglas and Dinah Shore.

In December of 1981, Buddy told author Doug Meriwether that there were plans afoot for an actual Buddy Rich TV series. “We’re going to have our own series very soon on PBS,” he told Meriwether. “Yeah, with the whole band and some guests who will be appearing with us, taped before a live audience. It’s something I’ve wanted. I’d been told more than once by people who supposedly knew what they were talking about, that the audience for a jazz series, man, was just too small. I never bought into that, and I feel we can prove them wrong.”

Well…he did and didn’t. Three programs were filmed on February 16th through the 18th, 1982. at the Terrace Ballroom within New York city’s venerable Statler Hilton Hotel. They were and are remarkable, but they were never sold, perhaps never offered for sale, never aired and no other episodes were filmed. A very, very few have even seen them.

And Buddy’s guest stars on these three shows? How about Mel Torme’, Lionel Hampton, Stan Getz, Gerry Mulligan, Ray Charles, Anita O’Day and Woody Herman? Wow.

Rich didn’t wait around to see if the programs were sold or aired. As usual, he just went straight ahead after the taping of the shows, and continued to be a constant guest star on everyone else’s talk, music or variety show. Indeed, three weeks after the filming of these shows, Buddy and the band were off to London to tour with Tony Bennett and Sammy Davis, Dr., with no looking back.

Watch this space for release dates and availability.
Keep swingin’
Bruce Klauber
September, 2008

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.”

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

If Lenny Bruce was the first “jazz comedian,” George Carlin may have been the last.

Bruce, who died in 1966, and Carlin, who passed away on June 22, did not play musical instruments, but they both riffed, improvised, innovated, took risks and chances, and composed spontaneously like the best of the jazz greats.

Both were closely associated with jazz musicians throughout their careers. Bruce appeared in clubs with dozens of jazz legends, and on his one and only television special aired locally in New York city in 1959, available only from JazzLegends.com, he had Buddy Rich, Cannonball Adderley and the jazz singing group of Lambert, Hendricks and Ross, as guests. In the late 1960s, Carlin co-starred with Buddy Rich on “Away We Go,” a summer replacement television show. And, like too many jazz musicians of yore, Bruce and Carlin both had drug problems.

Bruce and Carlin worked most of the jazz joints when there were such things, and both were busted for obscenity. Bruce was first arrested in 1961 at the Jazz Workshop in San Francisco for uttering a 10-letter word that referred to a sex act, Carlin’s run-in with the law occurred in 1972 at the Milwaukee Summerfest for his “Seven Words You Can Never Say On TV” routine. One of the words in Carlin’s act, by the way, was the very same word Lenny was busted for 11 years earlier.

Bruce first came to fame when the ruling comics were folks like Milton Berle and Jerry Lewis, whose vaudeville roots were at the core of their outlandish physical comedy. In terms of their verbiage, it was pretty much “take my wife, please,” and “a rabbai and a priest were standing on the corner.”

The old-guard comics who labeled Bruce “sick” at the time –like Lewis, Berle, Henny Youngman and the rest, continued to base their humor on physical shortcomings and crass caricatures of women, the Japanese and other ethnic groups, and put down humor in general.

Sample lines? “I’ll take my wife on a vacation to somewhere she’s never been,,,The kitchen!” Or, even better than that, “Why don’t you walk into a parking meter and violate yourself?” These could only be topped by Bob “Peace Corps” Hope’s famed, You’re looking well. What do you hear from your embalmer?”

Hoo boy.

Bruce was simply offended by the hypocrisy of it all, including what he viewed as the hypocrisy of language.

Like it or not, he changed the course of comedy, and virtually everything we hear today is an extension or modification of what Lenny Bruce did over 40 years ago.

Pushing the comedic, linguistic and verbal envelope, Lenny Bruce was revolutionary, much like Charlie Parker and Dizzy Gillespie were when they knocked the jazz world on its rear end as pioneering be-boppers. In the staid 1950s, no one–especially a comic–dared publicly mock things like organized religion, sex, and revered icons like Billy Graham and Eleanor Roosevelt.

And his use of obscenities in his act? Lenny Bruce said over and over again that he only wanted to demonstrate that they were just words. When he repeated one or more of them over, over and over again, you got the point. It was just a word or words.

There was a price to be paid for being revolutionary. Lenny Bruce was arrested on obscenity charges seven times from 1961 to 1964. He was found guilty on two of the charges, with one being reversed after Bruce’s death. On December 23, 2003, 37 years after his death, New York Governor George Pataki posthumously pardoned him.

Like Lenny, George Carlin “worked clean,” for the first several years of his professional career, and was quite successful at it on television, in Vegas and on the club circuit. Coincidently, when Carlin and Jack Burns worked as a comedy team and arrived in Hollywood from Fort Worth in the early 1960s, it was none other then Lenny Bruce who helped them get a booking on the Jack Paar television show. This could have been a result of that fact that, at Bruce’s “Gate of Horn” nightclub obscenity bust in 1962 in Chicago, Carlin was one of two audience members/protestors who was locked up.

In the early 1970s, George Carlin changed his comedic voice and seemingly lifted a good portion of Lenny Bruce’s act and attitude. Showbiz nay sayers thought it was strictly a career move back then. In other words, maybe Carlin saw the handwriting on the wall, dropped the coat and tie and “turned hippie,” strictly for reasons of commerce, much like Bobby Darin did when he lost the toupee, starting singing folk songs and suddenly became “Bob” Darin.

Though it may have been a career move or appeared to be that way in the beginning–the “Seven Words You Can Never Say On TV” bit was eerily similar to several of Bruce’s routines and it was common knowledge that Carlin idolized Lenny–I fervently believe that George Carlin ultimately found his own voice.

Bruce always claimed that his mission was to “hold a mirror up to society.” He didn’t live long enough to do that effectively. I think Carlin did, and in the process, influenced generations of younger, socially aware comics.

If historians chose to write about such things, they might say that the jazz equivalent of George Carlin would be Miles Davis, in that Miles was amongst the very, very few who not only moved along with the times, but was at the forefront of inventing the future.

The ultimate difference between Bruce and Carlin? The times dictated that George Carlin was able to live by a credo that Lenny Bruce could not: That the job of a comic is, by and large, to be funny. Lenny Bruce was hounded and persecuted for his innovations. George Carlin was applauded.

George Carlin was 12 years younger than Lenny Bruce.

Twelve years is a generation, and a generation makes a difference in public perception.

Is there another “jazz comic,” i.e., a pioneer, revolutionary, risk-taking, improvising, riffing innovator and heir to the “jazz comic throne” out there?

Some of the “older guard” are still out there in business. Veteran Pete Barbutti continues to wail on “jazz whisk broom” and play to the band. Mort Sahl, a politicial and moral firebrand of the late 1950s and rival of Lenny Bruce’s, is pitching at the age of 80, though history has long passed him by. Likewise another 1950s icon named Shelly Berman, who pretty much sticks to acting these days.

If there is any worthy successor to the Lenny Bruce/George Carlin seat, that would be Jon Stewart. Stewart embodies the literacy, the intelligence, wit and irreverence of guys like Lenny, Carlin, Richard Pryor and Sam Kinison, coupled with a respect for the tradition of those who maintain that the job of a comic is, as Dean Martin once said, “to be funny.” Stewart is satirist and an irreverent, political pundit among other things, and he consistently holds a mirror up to society. Sound familiar?

Tune in his program on “The Comedy Channel.” Jon Stewart has it all. George and Lenny would be proud.

And maybe Stewart even likes jazz…

The International Association of Jazz Educators, the voice of jazz education in more than 42 countries since 1968, has declared bankruptcy. With over 10,000 members, a thriving annual convention, plenty of local chapters and a number of still-impressive publications, this news was shocking.

The term I’m hearing used most often by those in IAJE is “blind sided,” meaning that even many close to the organization did not realize that massive amount of debt amassed. There are, of course, allegations of IAJE Board mismanagement and other accusations and instances of finger-pointing. Those things go with any Chapter Seven territory.

I have little knowledge of the IAJE management skills past and present. I resigned as an active member a few years ago, as I became frustrated and insulted by the fact that IAJE never mentioned word one about any of our videos, books, DVDs, CDs, or anything else, for that matter

Perhaps this was a part of their problem. It seemed to me that IAJE had the same advertisers, sponsors and supporters year after year after year, and nothing was seemingly ever done to court newer companies, which would include outfits like Hudson Music, Alfred Publishing, EJazzLines, and yes, JazzLegends.com. IAJE chose to believe we just didn’t exist.

Then there is the issue of just how many music-themed conferences can be supported annually, as a big part of the IAJE revenue picture was its big, annual get-together. There are two NAMM (Music Merchandiser) confabs, the Frankfurt Music Fair, the Percussive Arts Convention, and Lord knows what else during the course of 12 months. Just how many of these can be viable in today’s economy? Jazz Improv Magazine has also entered the fray with a convention, and they reportedly did very, very well with it this year in New York city. There is even talk that Jazz Improv may take up some of the IAJE slack in terms of publishing and a convention. Just how that would work or if it would work are questions.

Jazz Improv, as everyone in the industry knows, is almost totally advertising driven, meaning that anything mentioned editorially, by and large, is directly connected to paid ads. This concept has been a mainstay of weekly “shopper”-type newspapers across the country for years. The fact that it’s being applied to jazz, presumably successfully at that, really says something for the publisher. Editorially, though, outside of a column or two, the publication is barely readable, rife with inaccuracies and laughably amateurish.

Everything, seemingly, is for sale at Jazz Improv. Can you imagine a large and lengthy issue devoted to Buddy Rich without even mentioning any of the Buddy Rich DVDs on the market…including the only official DVD of his life story? The point is, if a publication has little or no credibility, how seriously can any of its endeavors be taken?

*****

The coming months are going to revitalize and revolutionize the worldwide percussion community. Both Hudson Music and Drum Workshop are launching two, separate, 24-hour, internet drum channels. Hudson’s is DrumTV.net. DW’s is TheDrumChannel.com. Exact details will not be forthcoming until the formal launching of these projects–Hudson’s is set to start in June–but both will feature interviews, lessons, blogs, vintage and contemporary clips, interactive features, etc.

With DW, I will be involved in producing some of their impressive, stand alone DVD product, including the commercial release of the Gene Krupa/Dukes of Dixieland project “Championship Jazz” coupled with the famed Harry James/Buddy Rich outing from Chicago in 1965. I am also looking forward to writing narration for a most significant DW discovery, that being the “thought to be long lost” television specials filmed by Buddy Rich in 1982. Filmed live at the Statler Hiton Hotel in New York city in February of 1982, these three, never-aired television specials featured BR and the band, along with guests such as Anita O’Day, Lionel Hampton, Mel Torme’, Ray Charles, Stan Getz, Woody Herman and Cathy Rich. Throught the years, especially when I was heavilly involved in Buddy Rich material, someone came to me almost every six months with the claim that they had these tapes. They never did. Leave it to Don Lombardi at DW. He’s got them.

By way of TheDrumTV.net, I will be contributing weekly blogs, clips, commentary, etc., most of the vintage variety. I am looking forward to truly having an international forum, much like I do in this space, that will grant exposure to the unsung giants of the drums–new and old–as well as rare material of those we know and love.

These internet drum channels are coming at a good time. WIth sites like YouTube and MySpace running rampant with unauthorized and unorganized material, anyone interested in percussion or drum history can now log on to TheDrumChannel.com or DrumTV.net to find out absolutely everything they wanted to know about drums…all in one (rather, two) places.

*****

SHORT NEWS:

Our German colleague, Arthor Von Blomberg, has reported that several appearances by his Krupa orchestra did very, very well at some dates in London, including the prestigious Ronnie Scott’s club. Arthor is still angling for some U.S. festival dates…

Though we haven’t yet seen it, bassist Milt Hinton’s new book, chock full of his great photos, of course, is now on the market…

On the maket is a new CD by Naples, Florida’s finest–a guy you’ve read about in this space many times–trumpeter Bob Zottola. In two words? “Buy it.” For more info, log on to Bob’s great site at www.NaplesJazzLovers.com, where you can also sign up for his great newsletter that lets fans know everything happening, jazz-wise, in Naples…

More Krupa discoveries are on the way, courtesy, once again, of the hard work of our man in Las Vegas, Paul Testa. All we can say at this juncture is that part of this DVD will feature every network obituary ever aired about Gene’s death…

If those of you who run into me personally within the coming weeks seem to think I look like Claude Rains in “The Invisible Man” (all bandages), don’t think I’m auditioning for a film part. On May 5th, two days after my birthday, I had a “larger-than-a-silver-dollar” sized malignant melonoma removed from under my right eye. It was caught–all of it–very early in quite in time, but do to the size involved, a number of skin grafts had to be performed. This will take some time, but the experts who know about such things claim I’ll be looking just like Frank Jr. again in no time at all. Guess my days of using no sunscreen are over…

Drummers, by nature, are not political animals, maybe because most of them are just animals. I’m no different, but I will answer finally answer the question that all wanted to know, in line with who I’m endorsing for president. Answer: I was, am and always will be a confirmed supporter of Harold Stassen.

Keep swingin and God bless,

Bruce Klauber
May, 2008

JazzLegends.com visitors may have heard this story before, but it bears re-telling:

Some seasons ago, we pulled the famed “The Drums By Jones” CD from our list of available products. Hudson Music and I had been in negotiations with the original producers of the project to issue it worldwide in a deluxe edition. Sadly, the folks who claimed to have the rights to the material were asking for more money for the rights than we would have recouped in a lifetime, so the deal fell through.

Shortly after, we received a strongly-worded document from those who said they were legally representing the owners of the material. We were asked, among other things, and in no uncertain terms, to remove “The Drums By Jo Jones” from our website. We did.

Since that time, we have heard absolutely nothing about what was supposed to be planned as a deluxe–there’s that word again–two CD set with booklet, unreleased photographs, and more. Try as we might, we cannot find any existence of this by the company who said they were releasing it (there is an English outfit by the name of Carter International who may or not be offering this, but we have little or no information about the company or the product).

In our quest to make these essential pieces of history available to our visitors, we are again offering “The Drums By Jo Jones” on CD…until we are told to do otherwise. It is essential and a must-have.

Presumably, everyone has already noticed that we have the entire 1948 film, “Smart Politics” available. Thanks to Robert Bierman to letting us offer this gem that features Gene and the crew in “Young Man with a Beat,” sung by the inimitable Freddie Stewart.

*****

Look for two, upcoming magazine features of interest–I hope–by yours truly. One, in the next issue of the eagerly-awaited “Traps” magazine is a piece of major-league length on the history of the drum battles, complete with some graphics that you probably have never seen. We are told that this should be on the news stands on or about April 21st. This, as far as can be determined, is the only feature piece dedicated to the guilty pleasure of percussionists near and far, the drum battle. For subscription info, log onto www.TrapsMagazine.com

“Classic Drummer Magazine” bills itself as “the fastest growing drum magazine on the planet.” It may be, and since their inception, they have devoted themselves to covering players and subjects that the other publications don’t. As just one example, they have recently done a feature on the one and only Donny Osborne, perhaps the only real “Buddy Rich protege who ever existed. I was interviewed recently and extensively about my participation in the “Classic Rock Drum Solos” DVD. Writer Bob Girouard was incredibly knowledgeable about the DVD, about my work, and about the world of rare and vintage film in general, and that’s rare. For more info on this fine publication and for details on how to subscribe, visit www.ClassicDrummer.com

*****

Even those of you who know me personally may not be aware that I’ve been a fan of Frank Sinatra, Jr. since 1967, when I first became aware that there was a Frank Sinatra, Jr. Those who continually try to compare Frankie to anyone are in the wrong ballpark. The fact is, Frankie is out there with a crack, 20-piece orchestra, singing songs and presenting orchestrations that are timeless. I had the great opportunity to interview Frank Sinatra, Jr.–and later review the show–for the “Naples Daily News” (a Scripps-Howard publication). We are reprinting it in its entirety and urge everyone to see Frank, Jr.’s show whenever he’s booked in your area.

*****

SINATRA SINGS SINATRA

Frank Sinatra Jr. could have taken the easy way out and chosen not to sing for a living.
But comparisons to his illustrious father have never stood in the way of his passion for the music of America’s finest composers and orchestrators and his quest to have it heard.
Singing the 45 years before youngsters like Harry Connick and Michael Bublé offered their take on his father, Sinatra Jr. has worked harder than most to carve out a solid career as a vocalist, bandleader, conductor, composer and actor.

(Sinatra played the Philharmonic Center for the Arts on Monday, March 31).
No, there haven’t been any hit records, television or stage shows, but he works quite a bit, even though his “Sinatra Sings Sinatra” show is an expensive one to mount.
Frank Sinatra, Jr., born in 1944, is the middle child of of three and the only boy. Nancy was in the limelight as a hit-making recording artist and film star, “ and Tina did well as a film producer and managing products with the Sinatra name. The younger Sinatra is the only sibling who maintains a constant stage presence. He was married for a while, is single now. A son, Mike, from another relationship, is a student at University of Califorina.

The music seemed to consume him from an early age.

“When I started as a kid I wanted to be a piano player and a songwriter, “ he told Will Haygood of the Washington Post. “I only became a singer by accident. I was in college, playing in a little band. The lead singer got tanked one night. A guy in the band pointed at me and said, ‘You sing.’ I said, ‘Me? Why me?’ He said, ‘You’re a Sinatra aren’t you? Sing!’”
As for his father, he also told the Post, “He was unreachable. He was traveling, or off making some movie. When I began in this business, with Sam Donahue’s band in 1963, “it was only on rare occasions when we saw each other.”

That would change decades later.

It’s taken years, though, for Sinatra to finally be satisfied with the sound of his own voice, he said in a phone interview
“I have become a better singer,” he said, “in the sense that I have gotten closer to the sound that I always wanted to hear my voice make inside my head. … I am now so much more comfortable working. It’s taken a lot of years for me to finally arrive at that attitude, vocally.”

The younger Sinatra studied his father’s style carefully through the years and when and if he wants to, he can sound eerily and uncannily like his dad. A good example of this can be heard on the 1996 album “As I Remember It,” a heartfelt musical and spoken tribute to Frank Sinatra.
“Yes,” he says a bit reluctantly, “that was a good record.”

That recording and his “Sinatra Sings Sinatra” program, where he sings many of the songs made famous by his father, stand as the exceptions through the years. After his father’s death, he says, “the audience wants me to sing those songs.”

Frank Jr. has long had his own eclectic repertoire (some recorded for his recent Reprise release, “That Face”), which dates back to one of his first studio efforts, “Spice.” The title song and a dark number called “Black Night” were written by the younger Sinatra.

“Nelson Riddle knew exactly what he wanted to do with the song ‘Black Night,’ ” Sinatra explained. “On the night that was recorded, that was March 29, 1971 — it was my first album with Nelson Riddle — something very, very difficult happened. We were in the recording studio here in Los Angeles, and Sinatra came walking in, because he heard I was recording that night. He came into the studio that night and he sat there and said, ‘What an arrangement!’ Nelson just blew him away. It was a very exciting evening.”

As hard as it may sometimes have been for the singer to carve out a niche for himself as a performer on his own terms, there have been many, many moments through the decades that he fondly remembers.
“I was the opening act in Vegas for three years for comic Phil Harris and the legendary bandleader trumpeter Harry James,” said Sinatra. “Phil Harris was one of the funniest people I ever knew. He could do more with less than anyone. He was incredible, the consummate stage performer who was also one hell of a musician. He was just brilliant.” (Contemporary audiences will know Harris as the voice of Baloo in the 1967 Walt Disney film, “The Jungle Book.”)

A thoroughly studied musician, Sinatra continues to be fascinated by the orchestrations — many featured in the “Sinatra Sings Sinatra” program — that made the music of Frank Sinatra timeless.
How is it that those arrangements — by craftsmen like Riddle, Gordon Jenkins, Billy May, Don Costa, Billy Byers and the rest — sound as if they were written yesterday?
Sinatra’s explanation is that “they knew how to orchestrate. They knew how to make best use of the musical instruments. They knew how to write counterpoint in music. They knew how to make the instruments sound as they wanted them to sound.”

Listeners at the Phil will hear many of these songs and arrangements as the arrangers wanted them to sound, played by a 20-piece orchestra under the direction of Terry Woodson. And this orchestra is as fine as any group of its kind, past or present.

In 1988, while leading, conducting and singing with his own band at downtown Las Vegas’ Four Queens Casino and Hotel, Frank Sinatra Jr. received a telephone call that would put his years of study, listening, learning and performing to the ultimate test.

“I had been conducting for myself,” he explained. “And the reason why I had been doing that is because we were working on such a small stage that there was no room for a conductor. So I ended up conducting for myself. When Sinatra came in one night, he said, ‘My God, the kid conducts!’ In his eyes, all of a sudden I was Eugene Ormandy, you know what I mean?
“He called me in early 1988. I was in my hotel room in Atlantic City and I was discussing the show that we were doing with my trumpeter, Buddy Childers, and my drummer, Bob Chmel. The phone rang and my father was on the phone, which surprised me, and he said to me, ‘Why don’t you come out and conduct for me?’

“So when my friends revived me with the smelling salts, I said, ‘What in the world is going on?’ He said, ‘I need somebody to conduct for me.’ I said, ‘What’s the matter with the guy you’ve got?’ Then I had to hold the phone away because he was yelling. He said, ‘These people don’t have the slightest idea of what I’m doing!’ Then he said to me, ‘Maybe another singer would understand what a singer is trying to do.’ And that was a pretty revolutionary thing to do. You never go to a show to hear a singer and see that the show is being conducted by another singer.

“He brought me in, and I began to learn him. I knew the music. I had to learn him. I was with him the last seven years that he worked. It was a wonderful experience and I miss it like you can’t imagine. It was a learning experience, and it was probably the greatest compliment that he ever gave me. And he didn’t give out compliments easily.”

After his father’s death in 1998, Frank Sinatra Jr. again hit the road with his own band. And one of the key members of the band was the pianist and sometimes conductor of his father’s orchestra, Bill Miller.
Miller, best known for being the pianist on the elder Sinatra’s famed “One for My Baby (and One More for the Road)” was the original lounge pianist at the Desert Inn in Las Vegas in 1951.

“My father was playing at the Desert Inn that year,” Sinatra recalled, “and I believe it was the first year that he ever played Las Vegas. “He met Bill Miller and loved his touch and the way he played. Bill Miller joined Sinatra in 1951. In 1951, I was seven. Bill would come to our home and rehearse with my father. I was taking piano lessons already, but I listened to a professional, and I tried to get the touch on the piano that Bill Miller had.
“As the years went by, whenever there was a Sinatra recording session and I could go to it, I would make it my business to be there and listen to the arrangements. But I would always find myself standing by the piano, listening to what Bill Miller was doing. Without knowing it, he was my teacher.

“Bill was with my father for almost 45 years. After my father died, Bill had been in retirement. In October of 1998, I went to Atlantic City to work and I was surprised to learn that the hotel who had booked us was the final hotel Sinatra performed in when he was still working. So I got an idea in my head.

“I told my people I wanted the big orchestra and that I was going to call Bill Miller to see I could convince him to come out of retirement. Bill Miller came to Atlantic City, and with very low, ethereal music playing, he was sneaked onto the stage and started to play his famous ‘One More For my Baby.’ And when the lights came up on him, people recognized him and they gasped.

“I was sitting there in the darkness, and the older I get, the more I look like Sinatra. When I was sitting there in a dark blue light, in my tuxedo, the resemblance was a little striking. The people were dead silent, and it really moved them, so much so, that they had tears in their eyes. Bill Miller worked with me until July, 2006, when he had a heart attack and died. He played right up until the end. His daughter came up to me after his death, telling me, ‘You gave my father another eight years of life.’ But Bill died never knowing what he taught me about music. I miss him every day.”

Of the new breed of singers who have followed in his father’s footsteps, Sinatra is “just glad they’re doing better music. That also goes for Rod Stewart and Michael Bolton, who are both friends of mine. The fact that they’re singing better music pleases me a great deal. They’re going to educate a generation.”

As for the future, Sinatra will continue to take work, when the gig is right, with nothing less than a full orchestra, playing the great songs and the great arrangements. There may be more film and television roles down the line per his guest spots on “The Sopranos,” and he has just completed a second appearance on “The Family Guy.”

Musically? In a 2001 essay entitled “Frank Sinatra is Alive and Well and Singing in Europe,” poet and Sinatra family friend Rod McKuen, hit the nail on the head when he commented, “Frank Sinatra Jr. is his own man, and while he’s proud to be ‘the keeper of the flame’ at this point in time, there is absolutely no doubt that he will be creating his own standards as a singer and writer in the near — not distant — future.” Or, as no less than the Washington Post put it in 2006, Frank Sinatra Jr. is “uniquely gifted in his own right.”

*****

The following week, Tony Bennett was in town at the same venue, and he absolutely killed. The 82-year-old legend was onstage for an astounding 90 minutes and sounded better than he did 40 years ago. Special credit must be given to pianist Lee Musiker and drummer Harold Jones. Jones, playing a wonderfully sounding DW set of drums, demonstrated why he was, as Bennett said, “Count Basie’s favorite drummer.”

*****

There should be, we hope, some major announcements on the DVD and CD fronts, in terms of getting things out commercially, properly and internationally. Stay tuned.

*****

We are headed up north for a series of shows, but will return to Naples, FL in early June. Not only am I playing at least three nights down here, I am contributing regularly to The “Naples Daily News,” “Naples Sun Times” and “ETC.” I am in the fortunate position of covering the great jazz scene regularly…while getting to–literally–play a part in it as well.

God bless and keep swingin’

– Bruce Klauber, April, 2008.

JazzLegends.com is proud to welcome our newest supporter, Dave Bedrock’s American Drum School. You’ll find his advert on our CD page, and it is, without doubt, worth more than a click or two. Dave has been in the drum world for ages, with expertise in just about every type of music. Like my colleagues at Hudson Music, and DCI Music Video before that, Dave saw the possibilities for drum tutoring via video at the dawn of the video age. He is a pioneer, and his concept of online lessons–as well as plenty of more great goodies–is a superb one. His site was and is among the best drum-related sites on the web.

The manager of the late Anita O’Day, Robbie Cavolina, checked in with us after reading our column on Ms. O’Day. To say that he was not happy is an understatement, stating that I knew nothing whatsoever about the nature of their association, that it was Ms. O’Day herself who wanted to continue performing, etc., etc. I offered to open up our web pages for Mr. Cavolina to reply to my criticisms, at any length whatsoever and with no editing involved. I have never heard from him again, but the offer still stands.

Too many folks in the jazz world seem to be checking out these days, including fellow Philadelphian Michael Brecker, jazz and blues legend Jay McShann, reedman Kenny Davern and a really great writer by the name of Whitney Balliet. Balliet, to many of us aspiring jazz writers growing up, idolized him, as well as Martin Williams, Leonard Feather and various others. My brother, the musicologist Joel Klauber, gave Whitney the monicker of “the poet laureate of jazz,” and we’re happy that it stuck.

We are, hopefully, “this close” to signing a deal with Alfred Publishing for the book, “The Great American Drum Catalogs: The 1950s.” We will keep you updated. We are also told that our 1956 “JATP in Hamburg” discovery will be released shortly in a deluxe edition by Fresh Sound Records in Barcelona, Spain. The folks at Fresh Sound are really, really fabulous, and it continues to be interesting to consider the fact that we had to go to Barcelona to get this released properly. Correct me if I’m wrong, but wasn’t jazz “born” in the United States?

The Bopworks drum stick manufacturing company out of Austin, Texas, specializes in making sticks that have the look and feel of those great sticks from the 1950s and 1960s. Indeed, they are shortly coming out with a Mel Lewis model based, I believe, on Mel’s famed Gretsch stick. The big news, however, is that yours truly, Bopworks and the Estate of Gene Krupa are about to sign agreements for the issue of an “officially sanctioned” Krupa stick, the first on the market since Slingerland ceased producing them in 1972. The stick will be an exact duplicate of the Slingerland, late 1940s model, and will carry a reproduction of Gene’s actual signature. Though Bopworks may be a relatively small operation right now, it won’t be for long. We will let you know when the exact issue date is, and in the meantime, please visit the Bopworks web site at www.Bopworks.net

While visiting Naples, Florida, recently, I noticed that Steve March Torme’ was booked at the Naples Philharmonic to perform what was called “Torme’ Sings Torme’. While I was aware that Mel’s son was a singer, I had only heard him doing pop-type stuff, and I wondered how anyone could do a vocal and musical tribute to one of the certifiable geniuses of music. And yes, Mel was friend of mine. He wrote the introduction to my first book on Gene Krupa and narrated our famed, “Buddy Rich: Jazz Legend” videos. To my surprise, Steve March Torme’ was just fabulous. I was so moved by the show, that I wrote a review of it for the Naples Sun Times newspaper. This is the review as it appeared in the paper:

Steve March Torme’’s recent, sold-out performance at The Naples Philharmonic Center for the Arts was, quite simply, an extraordinary musical event. Steve March Torme’ is the son of the late, legedary and multi-talented Mel Torme’, and in this multi-media program, entitled “Torme’ Sings Torme’, Steve March pays vocal and verbal tribute to his father. Filling dad’s shoes–especially when dad was an absolute genius as a composer, singer, drummer, pianist and author–is virtually impossible. Mel Torme’ just cannot be imitated. Wisely, Steve March Torme’ doesn’t even try, though if anyone could do it, he could. There are, in fact, a few moments where the vocal resemblance is erie.

Certainly, the musical influence is present–how could it not be?–but Steve March Torme’ is very, very much his own man and it is obvious that this tribute to his father is nothing less than sincere and heartfelt. The program he chose to present focused on songs made famous by Mel, including “Mountain Greenery,” “Lulu’s Back in Town,” “Sweet Georgia Brown,” “Stardust,” “Ridin’ High,” and of course, as an encore, “The Christmas Song.” The stellar, 12-piece big band, under the musical direction of pianist Steve Rawlins, tackled the most difficult arrangements in the Torme’ cannon, those being the famed orchestrations written for Torme’ in the mid-1950s by the great Marty Paich. Vocally, these charts are not easy to navigate, as they are filled with key changes, tempo changes and interludes of scat singing. Torme’’s interpretations, without exception, are swinging, joyous and effortless, with all of the sense of perfection that was a hallmark of his father’s. More importantly, Steve March Torme’ draws no attention to the fact these pieces are difficult. One can only imagine how much rehearsal went into this. But then again, the younger Torme’ did grow up with this music.

He is quite candid, onstage and off, about his relationship with his father. Mel Torme’ and Steve’s mother, Candy Tockstein, divorced when Steve was 2 1/2 years old. Tockstein subsequently married Hal March, best known as the host of televison’s “The $64,000 Question.” By the age of 12, Steve had already made up his mind that he wanted to be a performer and had his own band a year later. After the death of Hal March, he established a relationship with his father, and both realized they had much in common. He had his father’s support as well. In one, telling segment of this program, Steve shows a vintage piece of video which shows the elder Torme’ sitting in with his son’s band at what appeared to be a rock club in Los Angeles. And, yes, Steve was scatting pretty well even then.

In the late 1970s, he recorded something called “Lucky,” for United Artists records, and later produced and sang on Liza Minnelli’s “Tropical Nights,” a Columbia records release. Through the years, he’s also done various acting jobs in films and television. Legendary arranger Quincy Jones was always impressed with Steve’s talent, and tapped him to be one of three siners for the famed vocal group, “Full Swing,” which toured the world and recorded for Planet Records. Since then, he has concentrated on a solo career, and has made more than a smooth transition to jazz. This current tour is in support of his new CD, “The Essence of Love,” which includes a duet with famed jazz vocalist Diane Schurr.

The entertainment industry is not an easy business as it is, and growing up in the business had to have been difficult. In this case, however, you’d never know it. Steve March Torme’ is funny, self-effacing and generally just a nice guy. After what must have been an exhausting, two-hour show, which also included a few turns at the piano, guitar and a surprisingly agile tap-dancing segment, he sat in The Phil’s lobby for hours afterward, signing CDs and photos, telling stories and listening to more than one tale from those who knew and/or saw his dad perform. And by the way, he does the darndest, verbal impression of Mel Torme’ that anyone has ever heard.

Steve March Torme’ is not the first, and likely will not be the last, child of a major performer to follow in mom or dad’s footsteps. Currently on the road, just to name two, are Frank Sinatra, Jr., who is paying tribute to his father and Deena Martin, doing the same. But ultimately, an artist with the talent of Steve March Torme’ will go his own way musically, as it is already clear that he was and is very much his own man. I can’t wait to hear what the future will bring. In the program notes, Steve March Torme’ thanks his father “for showing me how important professionalism is.” Believe me, it shows.

Dr. Bruce H. Klauber is the biographer of drum great Gene Krupa, producer/creator of the Warner Brothers and Hudson Music “Jazz Legends” DVD series, and a jazz drummer and recording artist since childhood. Mel Torme’ wrote the introduction to Klauber’s “World of Gene Krupa” book and narrated his two-part DVD, “Buddy Rich: Jazz Legend.” Visit him on the web at www.JazzLegends.com

Finally, friends, we have some exciting discoveries on the way. Please note that we have already released “Gene Krupa: 1966″ on CD, which contains about 17 minutes of very rare material of the Jazz Quartet with Carmen Leggio, recorded in Detroit in 1966. Upcoming, from the same year is an unbelievable Krupa concert, with Eddie Shu, Wellstood, etc., that was likely recorded at a state fair some where in the midwest. This features state-of-the-art recording and some of the best Krupa playing ever captured on tape.

Stay tuned, God bless and keep swingin’.

Bruce Klauber February, 2007

First and most importantly, belated good wishes to all of you for a swingin’ New Year and beyond. Your continued support, encouragement–and suggestions–mean the world to me. Here’s hoping that this year brings more discoveries and more great projects.

Our apologies to those mail order supporters who did not get the message that for most of the month of January, as well as the last two weeks in December, all mail orders need be sent to: Bruce Klauber, 1108 Forrest Lakes Boulevard, Naples, FL 34105. Joy and I are down here enjoying children, grandchildren, in-laws and the rest. Naturally, Joy did her annual Christmas bash, and this year there were over 20 good folks in attendence. It’s worth the work.

Naples, Florida, is one of the great jazz towns in the country, believe it or not. We’re sitting in here at least two nights per week and doing some subbing when asked. The wonderful scene here is led by a superb singer by the name of Jebry, aka Judy Branch, who spent some great time with the Harry James band of the late 1960s. Her husband, Bobby Phillips, is a fabulous, fabulous drummer, and these great people lead some of the darndest jam sessions you ever heard. In fact, we’re going out on the town tonight with Jebry and Bobby for something of a “jazz tour” of nearby Fort Myers.

The drum catalog book project is moving along, and is now on the desk of the Alfred Publishing Company. Truth be told, I wasn’t thrilled about my treatment from the previous publisher who was considering this, despite the fact that I’ve personally helped put hundreds of thousands of dollars into their collective pockets. At this late date, the very least I can expect–and demand–is respect. Alfred Publishing is a company filled with good, compassionate, understanding and forward-thinking people. Like Hudson Music, for me, it’s the place to be. We have narrowed our conceptual sights down a bit for this book, and I think the working title, “The Great American Drum Catalogs: The 1950s” says it all. I’ve bombarded Alfred with more than enough ideas over the past year or so. I have the feeling that this one, like our 1950s “Jazz on TV” DVD project, will go through.

The idea of a Gene Krupa drum stick is still very much a possibility. Vic Firth is still up in the air about it, but there are several smaller companies ready to move on the idea right now. Stay tuned. In the meantime, we are doing everything possible to gather up what’s left of the famed, Capella “Heritage” model Krupa stick, in hopes of making them available on our site.

In another area, and forgive me if I’ve gone through this before, the YouTube era is indeed here and there seems to be no stopping them. What you might not know is this: YouTube is broadcasting thousands of videos illegally, without regard to copyrights or ownership, and this includes footage from virtually every video and DVD I’ve written and produced since 1993. And all this goes on without credit of any kind. Two examples? The famed, Jerry Lewis/Buddy Rich drum battle sequence from the mid-1950s was given to me, personally and exclusively, by Jerry Lewis as thanks for a significant personal donation I made to Muscular Dystrophy. This footage shows up, as of today, an astounding 18 times on YouTube, in full-length form. Another blatant instance is the Krupa/Rich drum battle from the Sammy Davis, Jr. television show of 1966. I went to the ends of the earth to discover, restore and pay for this footage, and it’s up there for all to see, at no charge and with no credit given, on YouTube. This is called stealing, and YouTube is stealing from hundreds of companies and individuals, from Hudson Music and Alfred Publishing to CBS and CNN. Want to sue? Wait in line. Want to force them to stop showing clips illegally? Prepare to fill out several dozen pages of paperwork. It’s grown too big too quickly–just like the internet–to stop it, though believe me, I’m going to try.

Though there is no real way to combat this, I will take the suggestions made in the Forum — about making downloads of clips that are not on YouTube available on the JazzLegends.com site — to heart.

Due to your wonderful support over the years, our singular product line and the efforts of our genius of a Webmaster, this web site is among the most visited of its kind in the world, with a domain name that has become quite, quite valuable. We’ve said this several times over the past year, but 2007 will be the year of actively pursuing appropriate advertisers. No site reaches the audience we do and there are literally hundreds of potential drum and jazz-oriented companies out there who should be advertising on JazzLegends.com Since all of you have helped make us what we are, I offer you the following: A home page display ad will cost $1,500 per month, with the biggest, bottom-of-the-page banner that we can fit. Other pages list at $1,000. This includes a link on our links page, any graphic design needed, and when appropriate, some insightful editorial about the company itself. Anyone out there–and anywhere–who successfully gets a company to join us gets 20 percent of whatever is sold. This is a deal. For more details, if necessary, e-mail me personally at DrumAlive@aol.com

Finally, we are going to extend our DVD sale price of $20 through January. You all deserve it.

God bless and keep swingin’

Bruce Klauber January, 2007

Jazz lost yet another innovative original, singer Anita O’Day, who passed away at the age of 87 Thursday, November 23rd. Considering the life she led, well detailed in her autobiography of some years back, “High Times, Hard Times;” it is simply amazing that she made it past 50 years of age. And she was singing, after a fashion, just about up until the end. 

O’Day was at the forefront of an entire school of jazz vocalists from Chris Connor and June Christy on up and on down, and it’s a “school” that continues today in various guises. For instance, O’Day’s amazingly wide sphere of influence included plenty of jazz-oriented popsters, including the likes of Joanie Sommers. Britain’s Stacey Kent, who sounds almost exactly like Sommers (though Kent told me she never really listened to Joanie), is therefore, in a way, an O’Day student, albeit a couple of times removed. Plenty of male singers got he message as well. It’s hard to believe that Mel Torme’, for instance, didn’t listen closely to Anita. 

She, along with Roy Eldridge, really helped put the Gene Krupa band on the popular and critical map upon their arrival in 1941. Gene’s crew, until then, was a good, more-than competent and always musically swinging crew, though it never really came across on records. Though the band had some good singers, soloists and arrangers, there was nothing utterly distinctive about it until Anita and Roy arrived. It wasn’t long after their arrival that Krupa had two, real “stars” on his hands, and a number of hit records, to boot. Anita always had great, great words about her days with the band, and Gene’s drumming in particular, and this was from someone whose quotient of kind words through the years were measured carefully. And no, for the tabloid-oriented amongst us, O’Day verified a number of times that she never had an affair with Krupa. So there! 

Anita O’Day was among the very, very few in jazz history to successfully modernize as time went on. Her groundbreaking work for Norman Granz Verve record label in the 1950s was more than an extension of cool. Anita O’Day was cool by being hot, if that is possible. She always swung and swung hard. Her scatting was refreshing, inventive, surprising and often rhythmically impossible. She could not, quite simply, get lost, and some of those 1950s charts–Gary McFarland’s, for one–were darned difficult. O’Day even drove Oscar Peterson, a speed wizard if there ever was one back then, to extremes. 

With the arrival of The Beatles, the entire entertainment business changed and it would never be the same. Julie LaRosa, a fine and underrated singer, once told me, “Before the Beatles, we were thrilled if we could fill a 400-seat club. After their arrival, if you couldn’t fill a 20,000-seat stadium, you couldn’t get work. 

It was no different for Anita O’Day, though it was likely worse, given the hard times jazz experienced in the late 1960s and early 1970s. In those years, and the sordid details have been repeated often enough elsewhere, she survived drug overdoses, arrests, periods of “almost-homelessness” and worse. Yet musically, when she had the chance, most often for her own Emily record label, Anita continued to evolve, at times foreshadowing what Betty Carter would much later take, to these ears, excess. As “far out” as she may have gone harmonically and rhythmically, Anita O’Day never forgot the lyric. Others did. In those years, like many artists in similar situations, she took work where she could. The scenarios were not often pleasant. Her general frustration with the scene and with the bread, to say nothing of her difficulties at the time with alcohol made for some strange situations on the bandstand. At a small club in Philadelphia, for instance, Anita berated the local trio backing her–on the stage–because they didn’t know “Let Me Off Uptown,” even though there was no chart for it in her book. 

She did some nice work in the 1980s, buoyed by the response to her autobiography (Madonna at one time held the film rights to it), interviews on “60 Minutes and other national television shows, work at festivals, etc. At long last, this miraculous survivor was deservedly deemed a legend. 

If all had been right with the world, she would have bowed out gracefully at the end of the 1980s, appearing at ceremonial occasions to be justifiably honored as amongst the universe’s most influential artists. Although her chops were just about shot, she kept on singing. Too, too often, the results were variable. Who knows why she kept on. Bread? Glory? The fact that singing was all she knew? Who knows? Ali, Sinatra, Joe Louis comprise just a very few who, in the opinion of the public, stayed too long at the fair. Or did they? The public kept on coming and kept applauding. Isn’t that what was and is important? 

Cut to the latter 1990s and the year 2000 until now. Though I don’t know all the details, some time during those years, a relative youngster by the name of Robbie Cavolina attached himself to Anita O’Day, billed himself as her “manager,” and began booking her all over the world. The problem was, that Anita O’Day could no longer sing in any way, shape or form, and if my time with her several years ago at the Denver Jazz on Film Festival was any indication, she had little idea where she was. The whole idea of it was, simply, pitiful, and smacked of the grossest exploitation possible. Not too long ago, Cavolina had the unmitigated nerve to trot O’Day into a recording studio–or living room, as it sounded on the CD–to record something called “Indefatigable,” one of the saddest and most embarrassing documents ever recorded by anyone. It is an insult of the lowest kind to the legacy of Anita O’Day, and could have only been done for one reason: bread. If Anita O’Day, the consummate artist, had any idea what was happening, she would have never allowed it. It is a sin that Robbie Cavolina did. 

A year or two ago, word came that a documentary on O’Day’s life was in preparation, and such a document is long, long overdue. The film is said to me almost completed, and tt’s a shame that Anita did not live to see it. I did, however, get a glance at the preliminary credits for the picture, and it lists none other than Mr. Robbie Cavolina as “director,” “producer” and “writer.” I hope he finally gets some money out of the whole thing which, to me, is why he went into this game to begin with. Anita O’Day, at the very end, deserved better. 

Bruce Klauber December, 2006

After some good reviews both in and out of the industry and decent sales for a project of this scope, the backlash against “Gene Krupa: The Pictorial Life of a Jazz Legend” has begun, as I knew it inevitably would. The e-mails being received in this regard, and thankfully there aren’t many of them, concern a number of errors that these readers found, all told, totaling about eight, and one was a typo. Some suggest that Gene is deserving of a more “scholarly” work. Others claim that I am spouting inaccuracies because, since the subject of the book is dead, no one will know the difference. Wow. 

Regretfully, there are errors thousands of publications of every kind. Some of the publications, like the errors they contain, are of every size and type. One, very, very well-known mail-order catalog, just as minor example, continues to say that “drugs destroyed (Gene’s) life” in their copy advertising “The Gene Krupa Story. DVD. One very well-known writer for the jazz magazine “of record,” recently reviewed a big name singer and credited his drummer for doing a fine job. Problem was that the drummer he named only appeared on two tracks recorded 20 years ago, because said drummer has been dead since 1989. One great newspaper review of a concert, that appeared in Philadelphia publication years ago, was a rave, rave write-up of a Ray Charles concert. The problem this time is that Charles actually cancelled the concert and there was no such show. The year after, Philadelphia’s major newpaper and Pulitzer Prize winner had a review of a Count Basie concert. The reviewer remarked that he especially enjoyed the Count’s rendition of the famous song, “Chinese Stockings.” I’m not even going to talk about the minor inaccuracies that pop up in many jazz books. It’s a fact of life, and it happens. Always did, always will. 

Hopefully, whatever screw-ups made by my publisher, my editor and me—individually and collectively—stand as more minor than Count Basie’s “Chinese Stockings.” That reviewer is still working, by the way. 

Some of the errors mentioned in my Krupa book are some reputed misspellings (Frank Bellino’s name was spelled Bellino in no less than “Down Beat” magazine, though someone insists it is spelled otherwise), the exact year when Gene began using a swish cymbal (told to me, by the way, by both Charlie Ventura and Eddie Wasserman), dates of photos that may or may not have been off by a year or two, some background figures in photos that may or may not have been misidentified, etc. 

I do regret two errors: One was a simple typo, naming my good friend Bruce Crowther as Bruce Growther. It happens. Just as another crazy example, a major drum magazine which should know much, much better, spelled my last name as “Kaluber.” And I’ve been working with them for almost 20 years. Like I said, it happens. So, to my friend Bruce, and we refer to each other as “the other Bruce,” 

My sincerest apologies. 

The other grievance concerns a photograph that is evidently owned by that great drummer, Krupa fan, Krupa supporter and keeper of the Krupa flame, Brooks Tegler. I will not—nor will I ever—dispute the fact that the photograph in question is owned by Brooks Tegler. I know Brooks and his dad, the great John Tegler, for many years. If the Tegler’s say it—about anything—you can bet it is so. From my end, on the copy of the photograph I had, there was absolutely no identifying mark or photo credit on or near the photo itself. Several others, whom I will not name, have also evidently used it uncredited. Believe me, as was said in the book’s introduction, if an error was made in terms of credit, it is deeply, deeply regretted and I will do everything within my limited power to make things right. I have been in the Tegler’s home and in their company many, many times. What they do for the cause of jazz simply cannot be measured. Brooks, by the way, is heading up a jazz cruise this coming August, where his crackerjack big band will pay tribute pay tribute to Gene, Benny, Glenn Miller and various others in the most authentic manner possible. John will offer commentary and plenty of inside stuff along the way. Check out the latest issue of “Jazz Times” for details. 

As some of you know, this book was caught in the transition between publishers, when Warner Bros. Publications was sold to the Alfred Publishing Company. If things hadn’t become so complex during this changeover, and I am told that the Krupa book was one of the few projects that survived the change, there likely would have been fewer mistakes than the eight or so reputed ones that there could be. In using over 200 photos, most of them not credited in any way, shape or form, it’s quite possible that some of them may be off by a year or two in terms of identification. Unless you where there, your guess is as good as mine…believe me. I am not offering excuses, but the accusers should know some of the details involved in a production like this before they accuse so negatively. 

There are several “little guys” (to use Gene’s term) out there who, it appears, want to claim some kind of “ownership” of Gene and, for whatever reason, want to nitpick to death projects like these and those who do them. One, in particular, who is no longer with us, virtually “nixed” the promotion of a Slingerland, “Krupa Tribute” drum set, as he insisted that Gene “invented” the Radio King snare drum, insisted that Slingerland include a 16 X 18 floor tom in the kit, etc. Look whavt happened to the “new” Radio King line. 

Let me give you some names of those who have given my books and videos a good deal of support through the years: Charlie Ventura, Marty Napoleon, Bobby Scott, Eddie Wasserman and John Bunch. They all played with Gene, and yes, I had the good fortune of playing with them as well. Then there were Mel Torme’, Teddy Wilson, Louis Bellson, Jack DeJohnette, Ed Shaughnessy, Roy Haynes, Elvin Jones, Steve Gadd, Max Roach and many more with whom I’ve worked over the years. The contemporary drummers in the new Krupa book, who know more about Gene than anyone can imagine, have also been behind me since day one and have never suggested my various works be “more scholarly” or bugged me about the date Gene used a swish or sizzle cymbal. 

I decided long ago that the jazz community was much too small for us to be criticizing each other, and that was the time I made the decision that I would no longer function as a critic…of anything. Here’s one example why: In the “critical” arena, there’s an author and reviewer out there who stands as about the most prolific author and reviewer on jazz in the jazz industry. This guy must be watching DVDs and listening to CDs in his sleep, and good for him. We were, at one time, colleagues and associates in this very small community. As a matter of professional courtesy, I sent this fellow a copy of a semi-private CD release by a vocalist I helped produce—and I played on it as well. My only request to this guy was, “If you dig it and want to say a nice word or two about it, please have a ball. If it’s not to your taste, just toss it out and forget it existed, as it’s mostly a self-produced private thing, anyway. This was some years ago, and I didn’t discover until recently that Mr. Jazz Author reviewed this project, posted on some inconsequential website, and absolutely “skewered” the vocalist and those involved. It was mean-spirited. What was the writer’s purpose in doing this? As Jackie Gleason one said, “What does it get you?” The negatives hurt. Forget the fact that I may be hurt. The negatives hurt the industry. How many of those, after all, are there in what we call “jazz?” 

Good, bad or indifferent, I believe that the various Krupa projects over the years—whether video, DVD, books or magazine articles, tribute bands and drummers, CDs and web sites—have really helped bring Gene’s name back before a public that may have forgotten him, and have helped garner an entire new audience for the man and his music. That, I believe, is the point, not whether Gene used a swish cymbal before 1962. 

Three books have been written about Gene since 1992: one by Bruce Crowther and two by me. If any of you, mainly those who really do know volumes about Krupa, I cordially invite you to write your own. I’ll help you get a publisher, too. 

I am so fortunate that my friend, and yes, my musical idol, Charlie Ventura lived to see my first Krupa book come out. Other than those in the Goodman Quartet, Charlie, I believe, had the longest on-and-off association with Gene. I asked Charlie one night what Gene would have thought about my book. “He would have loved it, Bruce,” Chaz said. And that was and is enough for me. 

AND IN OTHER MATTERS 

There is a lot of controversy these days about the famous—or infamous, depending on your point of view—website called YouTube. I believe there has been some discussion about it on our Forum, as well. The fact is, and you can ask anyone from NBC and CNN on up and on down, that YouTube is using copyrighted material. By the droves. I am told that the numbers of those now lined up to sue them are more than equal to the population of a small state. Yes, they are showing Gene Krupa clips, and yes, most of them are mine. And yes, I paid thousands for them through the years. And yes, this is copyright infringement of the most obvious kind. It will be an eye-opening experience for some of you to see the hoops one must go through in order to actually prove copyright infringement. One has to provide everything from your waist size to the maiden name of your next-of-kin. Though this is an exaggeration, check it out. I did, and I have neither the time nor the desire to attempt to fight what is rapidly becoming the internet version of big brother and city hall. If YouTube, reportedly a billion-plus dollar company, gets its rocks off by showing a clip of Gene playing “Leave Us Leap” that I paid Turner Entertainment a thousand-plus dollars for in 1993, then so be it. I wish I had the support that they did, and in line with that, as has been mentioned before, www.JazzLegends.com is now accepting appropriate paid advertising. E-Mail me if you’re interested. Maybe I’ll pitch YouTube. 

Talks are continuing with Vic Firth about a Krupa drumstick, and I do hope to meet with Vic personally after the holidays. Likewise with our concept for “The Great American Drum Catalogs” book, which has already garnered the endorsements and blessings of Gretch and Ludwig. Stay tuned and have a swingin’ Thanksgiving and beyond. 

Bruce Klauber 

November, 2006

The cases of the defunct, American drum companies–Rogers and Slingerland–represent, to me, two of the saddest and most disgraceful happenings in drum and in industrial history. For a company like Slingerland to go under, and this is an outfit that had both Gene Krupa and Buddy Rich as endorsers, is just unbelievable. They keep hanging on for some reason, though it is virtually impossible to reach anyone from Slingerland by phone, mail or e-mail, and their products are impossible to come by. Those in the know have continually pointed out that owner Gibson, the famous guitar manufacturer, could care less about drums and about Slingerland. 

The latest news in this dire arena has to do with the famed, Rogers drum company. I’ve said this before, and I’m certain many drummers out there will agree, that for many years, Rogers was the drum we all aspired to own at one time or another. They were, for a number of years, the absolute best in every sense. Careful listeners agree that Buddy Rich, Louis Bellson and many other famous Rogers players never sounded better on any instrument, and that the legendary Dynasonic snare drum was, depending on one’s taste, the best ever made. 

Rogers really began to come into there own as an industry factor when Henry Grossman purchased the company in 1953 and moved operations to Covington, OH. While the firm’s greatest years lasted until 1966, when CBS bought the company, Rogers still had a lot of life left within it in terms of the development of Memorilock hardware and other innovations that foreshadowed the era of extra-heavy-duty stands, pedals, racks and other hardware. After disastrous move to Monrovia, California in 1979, a brief move to Mexico the following year, and then a return to Fullerton, CA in 1981, things steadily went downhill. Rob Cook’s wonderful book on the Rogers drum company, published by his own Rebeats outfit, tells the painful story in grim detail. By 1987, Rogers had licensed their once-invaluable name to the Island Music Company, which solely functioned as an importer of drums with the Rogers name slapped on. What a lousy way to go. I often compare that scenario with that of the American automobile manufacturers who refused to see the handwriting on the wall, refused to acknowledge the rise and the quality of cars manufactured overseas, and in every sense, just shut their eyes in the belief that the party would never end. 

The unbelievable rise in the value and popularity of vintage drums, coupled with the success of American-made DW Drums, the resurrection of Gretsch and the popularity of various, American “boutique” operations, has forced the industry at large to take notice that, to some extent, what is old is new again. Say what you will about Yamaha drums. It’s not for nothing that their product is amongst the most widely used in the music industry. Yamaha drums and their many lines of percussion instruments are consistent in terms of quality and durability. Parts are easy to come by and customer service is great. And, they’ve marketed their name in such a way that Yamaha, in many ways, has become synonymous with the world “drums.” Yamaha’s crack marketing department has again stepped forward in a surprise and most savvy move: The drum division of the Yamaha company has acquired, as the announcement said, “the intellectual property rights” of the Rogers Drum Company. This means that Yamaha now owns the Rogers name, and their plans are to put out a line of Rogers drums. They’re smart at Yamaha. They know the value of the Rogers name. Those on e-bay know that, by and large, a vintage Rogers drum will get, at a minimum, twice as much as a Slingerland, Ludwig or Gretsch drum. Though I would have loved to see an American drum company acquire the Rogers name, and evidently, several have tried through the years, we can only hope that Yamaha will continue to emphasize quality as it applies to a line of Rogers drums. Perhaps Tama will now think about acquiring Slingerland. Someone should. 

We have written several times about the problems and complexities involved with our popular DVD title, “Tony Williams Live in New York City.” It seems that every other copy has been defective in some manner, and we’ve done everything within our power to rectify the problems. The last measure we took, believe it or not, was to acquire a copy of the original laser disc from Japan, and transfer directly to DVD from that source. Even that hasn’t worked. The good news is that we have been fortunate enough to track down, at great expense, the original VHS Video of the program, which is a very, very rare item (most of the issues were on laser disc). That will be our new source, and we believe this will call and end to all the problems. I cannot thank everyone enough for their understanding, and we have gone out of our way to make good with replacement, refunds, etc., on all defective copies. JazzLegends.com visitors are taking note of our acquisition of more and more Tony Williams titles. The good folks at Hudson Music and yours truly have recently made something of a minor breakthrough with the Williams family in terms of a cooperative effort to get some product out. We believe that it won’t be too long until we make a deal to do the DVD/Video tribute that Tony Williams sorely deserves. 

There’s other positive news on the business front: 

Our agreement with the Barcelona, Spain-based Fresh Sound records continues to move forward, and all of us look forward –if possible–to a Christmas release of the two-CD set of the Jazz at the Philharmonic concert from Hamburg, Germany, in February of 1956. Fresh Sound is a fine, fine outfit with which to do business, and I anticipate doing much, much more with them in the months to come. If it were not for Fresh Sound, hundreds of classic works of jazz, originally on LP and now on CD, would never have seen the light of day. Jordi Pujol at Fresh Sound deserves some type of award for his contributions to jazz and for making so much fine music available. EJazzLines.com, detailed below, has a complete line of what Fresh Sound has to offer as does WorldsRecords.com. 

The Gene Krupa pictorial book continues to do very well and continues to garner very positive reviews in the percussion press. Alfred Publishing is another great company in terms of honesty, integrity, openness to new ideas and ability and desire to communicate. These are, indeed, very, rare qualities these days. I am talking to Alfred about several new book and DVD projects. One recent idea that I’ve forwarded to Alfred (and they deserve an award in “Patience Department” for listening my endless lists of “new ideas”) would be a reprinting–in one volume–of several vintage Rogers, Gretsch, Slingerland and Ludwig drum catalogs, with additional commentary and photos by yours truly. Look at the prices that these catalogs get in the marketplace. It’s unbelievable, and I believe, I fine idea for a book. 

On a local basis here in the city of Philadelphia, I would be personally and professionally remiss if I did not mention the superb job that bassist/teacher/entrepreneur Bruce Kaminsky is doing in the Music Department of Drexel University. No, Drexel is not a music school, but with their very, very popular course of study related to the music industry, a full slate of music (which includes jazz) courses is imperative. Kaminsky is the inventor of the KYDD bass (the legendary hybrid acoustic/electric/unbelievably portable instrument), a world class bassist in just about every form of music, and my dear friend of over 30 years. Bruce is doing true wonders with his Percussion Ensemble class at Drexel, and I know this first hand, as I was a guest lecturer/instructor there yesterday. Bruce’s grand finale of the semester, a show to be done on Bruce’s usual grand scale at Drexel’s Mandell Theater, will feature the ensemble doing a singular version of none other than “Sing Sing Sing.” If things work out, and it looks like they will, the guest soloist will be yours truly. Now I know why I love Drexel. 

In many cities across the world, Tower Records represented the last venue where one could browse, seemingly for hours, for jazz CDs, videos, DVDs, books and magazines. I’m told that Sam Goody’s is just about out of business as well, though Goody’s hasn’t meant much to the jazz fan for years. So the future, I’m afraid, is here, but the future for jazz merchandise looks exceedingly bright, though it comes in a rather different form for all of us. The universe’s largest jazz merchandiser on the Internet is a company we’ve highlighted before in this space, called EJazzLines.com They have, quite simply, the largest selection in the world of virtually everything that is, was or will be related to jazz. This includes CDs, DVDs, rare imported labels of both CDs and DVDs, books, big band charts, Sinatra charts, Kenton charts, Buddy Rich charts, Real Books, and much, much more. I urge each and every one of you to visit EJazzLines frequently, as they, amazingly, get in more merchandise regularly from all over the world. Those great CD reissues on the Fresh Sound and other overseas labels? EJazzLines has them all. Vintage videos from the likes of Rhapsody Films and DVD concerts from Europe? EJazzLines has them all. The Krupa and Buddy Rich stuff on CD that may be missing from your collection? Well, you get the idea. And incidentally, our sincerest congrats to Rob DuBoff of EJazzLines for the newest addition to his family. We look forward to doing some work with this superior operation somewhere down the line, but for right now, after you check your e-mail, visit www.EJazzLines.com They are, indeed, “Your global source for everything…that’s jazz!” 

God bless and keep swingin, 

Bruce Klauber November, 2006

A number of you have and continue to respond to whatever issue exists with “Randy Caputo as Gene Krupa. Right now, the votes are unanimous, and several of those checking in are musicians who play with Randy. They confirmed my suspicions that this talented gentleman does indeed have his own style, and like many of us, uses Gene and Buddy–to say nothing of Louis and Cozy–as a “jumping off” point. Not to bore you with business, but Jazzlegends.com doesn’t sell a heck of lot of items that Gene is not on, with the exception of Tony Williams, some Jo Jones, and that other drummer we used to feature on the site. However, I am seriously recommending that you give “Randy Caputo as Gene Krupa” a look-see. It will, at the least, make you feel good about music, about tradition and about drumming. Feel free to make suggestions as to who you’d like to see and hear on DVD and on audio. 

Speaking of that “other drummer,” word has filtered down about a “Buddy Rich Drum Company,” with a sample set being on display at the summer NAMM show. Bud has long, long deserved something like this, marketed properly, and there certainly should be a BR stick on the market as well as a cymbal. There was talk of a cymbal some time ago, but nothing came of it. Slingerland, in an attempt to market a Buddy and a Krupa “tribute” set a few years ago, failed miserably. It does not help that then, as now, no one can reach anyone from Slingerland by phone, mail or e-mail. Maybe Slingerland, under the direction of the Gibson guitar company, no longer exists. As it stands, it shouldn’t exist. Look at what Gretsch did. They’re now getting up there with the major manufacturers when everyone counted them out. It can be done. And that, by the way, goes for an enterprising group of folks who should put a Rogers set on the market. 

In not too long a time, you will hopefully notice some great, great changes to the web site. Terry McKyton–the best webmaster who ever webmastered–felt it was due time to bring us into the year of 2006 with some video and a generally updated and easier-to-use design. Terry, a recent Masters Degree awardee from the prestigious Stanton University (As many of you know, Stanton is a ficticious college that used to offer ficticious degrees for about a hundred bucks a pop. As a present for Terry’s real graduation from the Masters program of a real school in Florida, we awarded Terry an official degree from the infamous Stanton. Those of you who have heard this story a billion times must forgive me. I think it’s funny. And I, too, am a proud Stanton graduate.) There is no better web designer out there. This guy pushes buttons on a computer that were said not to exist. If it’s a web site or web design you have in mind, Terry McKyton is, as the Zildjian cymbal people say, “the only serious choice.” 

It is hard to believe that an American record company did not step forward to release our 1956 JATP in Germany discovery. There are so many factors that make this so special, including the artists involved, the level of playing, the superb fidelity and the fact that this show was, until now, not documented in any way, shape or form. Verve turned it down because of what they claimed would be the expense, and likewise, those who own Norman Granz’ Pablo imprint. Those good folks claimed that they had dozens of unreleased shows like this in their vaults, including some concerts with Gene and Buddy. We were promised the details of all these alleged goodies. That was almost a year ago. We are thrilled to say that we are concluding serious talks with the Barcelona, Spain, based Fresh Sounds label. You won’t believe their catalog, and those involved in Fresh Sound are seriously devoted to the music. We are working quickly on this to come out with a first-class package of re-mastered sound, extensive notes and rare photos. If we can get it out for Christmas, there will be a lot of happy gift-givers out there. I’m sure that my many friends on the other side of the ocean are quite aware of Fresh Sound and all the great, great releases in their catalog. We might possibly enter into a DVD agreement with them as well. 

Browsing e-bay the other day, I came upon an extraordinary piece of art and workmanship. A miniature Gene Krupa drum set! I looked at this with great interest and admiration and contacted the artist himself, a fine gent named Rick Parries, and asked for some details and info about him and about his works of art. Here’s Rick himself: ” I have been playing drums since 1969, and of course my influences were Krupa, Rich, Bellson (I am working on his Remo miniature as we speak), Philly Joe, Morello and of course many more. I have always been artistic and love realism art. Detailed miniatures from the time I was a kid always fascinated me. I love drums, and I am very artistic and realized that nobody made a good miniature drumset. A lot of mass produced miniature drums were out there but nothing of any quality at all. So I ordered a miniature drumset off of e-bay, an import, and tore it apart to see how it was made. I started making the drums in my kitchen on the counter not knowing what I was doing or why I was doing it. The rest is history. These are all hand made one by one. I have no special tools to make them They are my own design and I do not claim to do replicas, but a replica “likeness” (“replica” can’t be used loosely). The drums are very labor intensive and some may vary from set to set. An example: tom mounts some could be rail and some swivel for the same drummer. I can do either and it does not take away from the basic cosmetics of the set . In other words I will not put anything on a drumset that does not belong unless I was doing my own designed custom kit. I have no doubt in my mind that these sell. I’ve proven it in the past when I was making them. I put my heart and soul into these drums and want to make sure the customer is getting what they paid for. I strive to make improvements all the time and I have done and will continue. The biggest thrill for me is to bring something to life in a miniature. I have been blessed with a gift of being able to create these little drums. I love building them and creating new product. I really is an honor for me to have the gift to create some of these little drums of past and present for everyone’s enjoyment.” 

Forgive my editing, Richard. I hope all our readers get the idea. Go on e-bay to check out this fine, fine work, and stay attuned to JazzLegends.com as we plan to hopefully be able to offer this art somewhere down the line. 

And in terms of art, the great, Philadelphia-based abstract painter, Judith Ross, has turned her talents to charcoal drawings of the jazz greats, including Benny, Gene, Bill Harris, Ben Webster and several others. These are really fabulous and are one-of-a-kinds. As soon as the newly-designed web site is ready to go on the air, we will have a separate page offering Ms. Ross’ superb works. 

Anyone who has ever considered themselves a collector and/or just a serious or concerned listener or fan, has what we term “the holy grail.” This could be an LP, a CD, a video or a DVD that you once loved and lost, one you once heard about and never could find, and that magic item that those who think they know about such things claim “do not exist.” It’s a great Forum discussion topic, if nothing else. In my own case, I was told more times than I could remember that the Krupa/Rich drum battle on the Sammy Davis, Jr. television show of 1966 never existed. I knew it did, and couldn’t believe it when I finally got a copy after much, much time and expense. Those clips, as you know, can be seen on “Buddy Rich Jazz Legend Part One.” There are still two, outstanding holy grails for me. One is supposed to be a tv guest shot of Krupa on the Frank Sinatra CBS televison show of 1950 or 1951. Supposedly, the Jazz Trio backs Mr. Sinatra, and then peforms a vocal duet with Gene himself on a song called “18.” I’ve tracked down some leads through the years with those who have claimed to have the audio. They were all dead ends. My second “grail” item was an LP made in the mid-1950s for the obscure and short-lived, New York city-based Herald jazz label. This was a meeting between two of my favorite pianists, Mary and Teddy Napoleon. Teddy, who passed away much too young in 1964, and brother Marty, who is still very much with us, are two two keyboardists I love, Both played with Gene, Buddy, Charlie Ventura and Eddie Shu, and I had the honor of playing with Marty in the mid-1970s. I finally found the recording–where else?–on e-bay. We’ll offer it to you as soon as it arrives. Until there’s more news, God bless and keep swingin’. 

Bruce Klauber, September, 2006

We somehow knew that Maynard Ferguson’s appearance last month at the Philadelphia jazz club, Zanzibar Blue, would represent the last time we would see and hear this giant. Sadly, we didn’t make it there, and word has now come that Maynard Ferguson has passed away at the age of 78 of kidney and liver failure resulting from an abdominal infection. 

He was the last one. The last of a breed. The last, big-band bus road warrior, constantly traveling the highways to perform at high schools, colleges, clinics, clubs and jazz festivals. The big band era, such as it was, is now officially over. 

Maynard was among the very, very few who played this music called jazz who managed to appeal to those who may not have liked jazz before or since. The list, which will not include artists of the Kenny G. era, is a short one, and includes Krupa, Rich, Ramsey Lewis, Brubeck, Cannonball, Eddie Harris, Kenton and Goodman. In many cases, jazz critics past and present never forgave many of these artists for having hit records or for having appeal beyond three record reviewers who sit in a dark room. 

His 1978 hit recording of the theme from the movie, “Rocky,” entitled “Gonna Fly Now,” was a top ten seller and a Grammy nominee in 1978. It also represented the end of any serious, critical claim Maynard ever received. Then again, the critics never liked him, even in the days when his double high C’s dominated the Stan Kenton band of over 50 years ago. Critical comment through the years, which also applied to Maynard’s wonderful band of the late 1950s and early 1960s, included statements like: “He’s not playing jazz.” “He can’t play jazz.” He’s too loud.” “The band plays too loud.” “The band plays too fast.” “He’s just a modern day Harry James.” “He’s just a modern day Al Hirt.” “He’s just a modern day Doc Severinson.” “He plays too much rock.” “What is this electric nonsense?” 

For the past several years, he has been virtually ignored by the polls, and the jazz and music press, despite his substantial contributions to jazz education and that he was the last big band leader to be on the road regularly. Also not acknowledged was the fact that Ferguson’s bands through the years served as an undergraduate university and training ground for dozens of future jazz stars. This list, starting from the old days, includes players like Willie Maiden, Slide Hampton, Jimmy Ford, Lanny Morgan, Rufus Jones, Don Sebesky, Joe Zawinul, Jaki Byard, Don Menza, Frankie Dunlop, Carmen Leggio, Bill Watrous, Chick Corea (who subbed for Jaki Byard at Birdland!), Mike Abene, Ronnie McClure, Peter Erskine, Greg Bisonnette, Dennis DiBlasio and countless others. 

I was lucky enough to see the famed late 1950s/early 1960s band at Philadelphia’s Academy of Music in 1961. I learned to play drums by playing along to “At the Sound of the Trumpet” and “Frame For the Blues,” two Maynard tunes regularly played by Philadelphia radio personality and Ferguson booster Sid Mark. I saw the English band, the rock bands, and the bop band. Maynard was always moving, always inspiring, always the focal point of whatever was going on, no matter what musical style was being played. His playing, particularly his high note leads, made me feel as if I were on a roller-coaster, going down the first hill. I’m told he still had “it,” even at the age of 78. 

Maynard’s long time manager, Steve Schankman, could only say, “Someone just said, ‘Gabriel, over to second trumpet.’” Cornball? Maybe. But true. Kenton knew that Maynard had “it,” very early on. “Maynard,” he said. “Someday you’ll be king.” 

He was. And for much more than a day. 

In another recent and probable passing, this one corporate, word has come that Tower Records has declared bankruptcy. This comes as no surprise to those of us who have visited Tower in recent months and saw the chain’s once mighty stock dwindle and dwindle to no more than that of a rack jobbers’ at K-Mart. At its height, Tower had a superb selection of domestic and imported jazz CDs, a wonderful magazine section, and a great stock of jazz-oriented videos and DVDs. 

Certainly, most buying has moved online these days, but there was just something about having the chance to peruse, to relax, to browse through the selections, and to perhaps read some of the linear notes, that is missing from the online experience. However, no retailer could compete, in terms of stock, with an online retailer. It is indeed possible, sad to say, that the days of “record stores” of any size may be numbered. 

Potential buyers who haven’t visited great, great sites like Ejazzlines.com, Worldsrecords.com and even, in a pinch, Amazon.com, will be very pleasantly surprised at what they have to offer and their superb service. 

As the newsreel said, “Time…marches on.” But why didn’t they ask me first?

Philadelphia is lucky in some ways. We have three clubs that regularly book name or semi-name jazz attractions. Chris’ Cafe’, Ortleibs Jazz House and Zanzibar Blue are to be commended on their policy, their consistency and dedication. The business of jazz, such as it is, just isn’t easy. Zanzibar Blue, in fact, is an instance where a venue has succeeded in spite of itself. Located with in the basement of one of Philadelphia’s grandest hotels, the former Bellevue-Stratford now the Park Hyatt, the club is comfortably appointed and serves really superior cuisine. The name acts are usually reserved for the weekend, and have included attractions like Maynard Ferguson, Little Jimmy Scott, Stacey Kent, Chris Connor, Steve Smith, Abbey Lincoln (who walked out because patrons made too much noise) and hundreds of others. Weekdays are reserved for Philadelphia area artists like drummer Webb Thomas, Barbara Walker and a host of regulars. Zanzibar has a built-in audience of well-heeled tourists who are staying in the hotel proper, as well as a number of dedicated Philadelphia jazz fans. 

The only strange thing about Zanzibar is what could be best described as the “vibe.” There’s an air of rudeness and superiority there, and that just breeds unpleasantness. I think they used to call something like this “feeling a draft.” I’ve felt it everytime I’ve walked in there. On more than one occasion, I talked to their booking folks about putting my group, along with singer Joy Adams, in there on an off-night weeknight. We didn’t even want any money, so this is not a case of sour grapes related to “not getting the gig, rather, we just wanted to perform in a space where our “fans” could hear us in pleasant surroundings. After a dozen calls, I continued to be ignored. I once asked a prominent Philadelphia radio personality why we could never get booked at Zanzibar, or Chris’ or Orliebs. Certainly, we’ve only been around as pretty top attractions for 30 years, to say nothing of the international prominence I’ve received via my books and videos. What was the problem? Said radio personality, who incidently is black, said with some shame in his voice, “Bruce. You’ll never get booked in those places. You don’t get down with the brothers.” 

Okay. Knew I was feeling something. 

Several months ago, our good friend Steve Smiith snared an appearance at Zanzibar with his fusion group, Vital Information. Steve asked me to help out with some advance promo, given that I was centered in Philadelphia. An e-mailing of close to 1,000 press releases went out, extolling the virtues of Steve Smith as a drummer, the Vital Information group, and the wonderful food and ambience of Zanzibar Blue. Some of you may have received that press release several months ago. The night of the performance, I was a bit taken a back that no one from Zanzibar Blue stepped forward to thank me for the work done on behalf of Vital info and Zanzibar. 

I e-mailed them about this several days later. Though they received copies of all the press releases and mailings done for Vital Information, they claimed to know nothing about it. However, I was surprised to hear back from them, saying that they were most grateful for my efforts. They insisted that Joy Adams and I be their guest for dinner and a show of our choosing. We chose July 14, early show, to hear the one and only Maynard Ferguson. In fact, we postponed our trip to Florida in order to hear Maynard. 

Checking to confirm that all was well reservations-wise the day before, II was startled to receive an e-mail from Zanzibar’s “Director of Operations,” claiming there was no reservation in my name. I replied immediately, saying that II was the person who did PR for Steve Smith and Zanzibar, that Zanzibar made me this offer, etc. Starting in the early morning of July 14th, I repeatedly e-mailed the Director of Operations and called about a half-dozen times with no reply whatsoever. Unprofessional doesn’t begin to describe this scenario, and my only thought was, “I’m too old for this nonsense. No way will I subject us to this vibe.” 

I waited until almost 4 p.m. for a return call. If we had actually decided to go, we would have had less than an hour to get ready. We still heard from no one. That’s when I decided to e-mail the Director of Operations and tell her about her gross unprofessionalism, how deeply I had been insulted, just who I was–again– and that I planned to write a column on the JazzLegends.com web site about this insulting experience. 

Bingo. The old column trick. That usually does it. At 4:25 in the afternoon, I received a phone call from the Director of Operations, who informed me of the following: That the person who made this reservation for me no longer worked there and never put the reservation in the system; that if I told her who I was (which I did after getting her first e-mail) that she would have instantly known that I had a reservation; that she broke her toe this morning; that she doesn’t sit in front of the computer all day. And, contrarary to my assertion about Zanzibar Blue’s legendary rudeness, she said she has never heard a complaint about anything from guests or performers (she has now). I asked her what she wanted me to do at this point. She said, “Come to the show.” I replied that I wouldn’t walk through Zanzibar Blue if it were the last place in the galaxy and Sinatra was appearing, and I don’t mean Frank Junior. She had nothing to say about ignoring my various e-mails and telephone calls made throughout the day, prior to the “I’m going to write a column: e-mail. . Perhaps it was the broken toe. 

Did I take this personally? Perhaps. I felt I was being regarded as a liar and as someone who was after a dinner. They made the offer, and they discovered that there was, indeed, a reservation made on my behalf. It was made through the PR Director, subsequently fired, and supposedly was never entered into the system. In other words, “The dog ate my homework.” You want to go to Zanzibar Blue? Go ahead. Have a ball. I won’t see you there. The only thing I’m sorry about is not seeing Maynard. Close to 80 years old now and still swinging, he’s the last of the old guard to be on the road year-round. He has been virtually ignored by the jazz press for the past several years, which is an absolute disgrace. He has never been forgiven, evidently, for having a hit record (“Gonna Fly Now,” theme from the movie “Rocky”). And owing to Zanzibar Blue’s crack publicity team, not word one–excepting a tiny listing–in terms of a newspaper article appeared about this giant. Still, Philadelphians have always been great Maynard fans, and no doubt the joint will be packed. Maynard, God bless him, always got down with the brothers. 

Through the years, some of the true legends of jazz have called Philadelphia home. There were and are dozens of them. Sadly, we just lost three fine, fine players in rapid succession, and though they were never in the national spotlight, they could and should have been. Singer Clyde Terrell had a taste of the limelight, via his vocal on Earl Bostic’s “September Song.” Mostly, though, he sang locally and always soulfully in a style that combined influences of Johnny Hartman and Arthur Prysock. No one could sing so well so slowly. The two CDs he made, late in life, for the DBK Jazz label were superb and garnered substantial radio play. Joy Adams and I were instrumental in getting Clyde this long overdue recording contract, and we hope and trust it gave him some joy late in life. 

Pianist Eric Spiegel, also known as Eric Shaw, had a tremendous respect for the jazz tradition and was particularly fluent in the language of be-bop. For some years, he was a part of a duo here in Philadelphia, the second half being the great jazz singer, Wendy Simon. They were first called Tuxedo Junction and later, 52nd Street. Their eclectic repertoire included everything from King Pleasure and Eddie Jefferson, to Jackie and Roy, and Lambert Hendricks and Ross. Eric and Wendy were poised to break out on the national scene, but as often happens, it never came to be. Spiegel later had a terrible, terrible auto accident and suffered severe brain injuries. Still, he worked hard in rehab and came back playing better than ever. He will be missed. 

Warren Davis, Jr. was an Episcopal Minister who I’d best describe as “the best preacher who ever preached” and/or “the best minister who ever ministered.” Additionally, he was a superb jazz pianist of the Teddy Wilson school who performed extensively in the Philadelphia, particularly at a number of Jazz Vespers concerts, a form of jazz presentation which he helped invent and popularize. Along with his regular cohorts, bassist Vince Long (who started at “square one” on bass several years ago and is well on his way now to becoming world class) , vocalist Joe Richardson, and often, guitarist Ron Parker, “The Gabriels” brought much joy to all who heard them. Though mainly playing in the swing vein, Warren’s ears were more than open enough to embrace every form of jazz, from be-bop to Ornette.And certainly, he loved the Duke. Had he wanted to, there’s no reason he couldn’t have been a national name. More importantly, he was the kindest and gentlest of men, who was open minded in matters other than music. Having come from a different religious persuasion than Warren, we had many, many discussions about the power and place of faith and religion. We decided–perhaps after a glass of wine or two–that there should be a religion that was similar to jazz. Our contention was that jazz was always open to all races, religions, ages, nationalities, etc., and that there should be a religion much the same as that. Hence, the invention of “The Sign of the Circle,” complete with secret “sign” (the sign was one hand making a circle) and business cards. I guess God needed a player who could play the heck out of “Sweet Lorriane,” without any alternate changes. I can think of no other reason for his absence here. Had Joy Adams not had a terrible slip and fall accident, complete with fractured and cracked ribs, we would have been front and center at the memorial. I’m sure Warren understands. He always did. Joy, your many friends, listeners and fans, and yours truly will miss you more than you may know, although depending on where you are, I’m sure you know!! 

In terms of some odds and ends, we will be travelling to Naples, FL, for a few weeks, beginning Tuesday, July 18th. It’s the birthday of our grand daughter, Niah Sage; and the graduation of the best web master who ever web mastered, Terry McKyton. Terry , by the way is receiving his Master’s Degree from the prestigious Stanton University (seriously, there is no Stanton, but his degree will be granted from one of Florida’s best). For our mail-order customers, from July 18th until further notice, probably about two or three weeks, please send any orders to: Bruce Klauber, 1108 Forrest Lakes Boulevard, Naples, FL, 34105. 

In line with updates, most of you are aware that Gene Krupa appeared on the Ed Sullivan Show, ca. 1960, once or twice. We are doing everything possible to get those clips out of the vaults. The Sullivan heirs aren’t easy–read that “really, really, big”–but we’re trying. 

Finally, please feel free to comment on this column, other columns, or anything else you may have on your mind. You’re obviously doing this–fabulously, by the way–in The Forum, but if you’d like to earmark anything for publication in this space or even write a guest column, e-mail me directly at Drumalive@aol.com 

God bless our dear, swinging friends, Reverend Warren Davis, Jr., Eric Spiegel and Clyde Terrell. May you keep swingin’ for eternity and beyond. 

Bruce Klauber

It’s pretty obvious that many of you are great fans of Tony Williams. That’s for good reason. He was an innovator and contributor of the highest order. Technically, not too many good equal him. Versatility? He was fluent and at ease with jazz, fusion, rock and all other combinations of those three. 

The good folks at Hudson Music and yours truly have been working on producing a documentary DVD on Tony’s life and music, but the Williams family just won’t go for it right now. As a matter of fact, the last Zildjian Lifetime Achievement Award given to Steve Gadd was actually supposed to go to Tony Williams. Again, the Williams family nixed it, saying that “the time wasn’t right.” Sadly, time is running out. The longer these giants go unrecognized, the quicker they will be forgotten. Making the matter of Tony Williams even more complex is that there just isn’t that much quality video material out there. Tony’s fans know it, and perhaps that’s just one reason why the “Tony Williams Live in New York” is such a popular title. 

It has a rather checkered history. It was released on a laser disc in Japan around 1990 and then withdrawn from release. JazzLegends.com was fortunate enough to get a copy some years ago and later offer it on VHS video and DVD. There have been quality problems with this title. At least half of the DVDs that have gone out have been defective in some way, shape or form. There have been picture “freeze-ups” and other difficulties that can occur on any DVD, but the main complaint has been that the audio and the video are, quite simply, out-of-sync. That just won’t do. 

We were lucky enough to obtain another copy of the laser disc from Japan, and it is in very good condition, but still not without problems. Maybe there are physical defects on these things and/or that the signals on the disc itself just don’t hold up after 17 years. After all, there’s got to be a reason why laser discs didn’t take the world by storm. And evidently, these laser discs were encoded with some kind of crude form of “Macrovision,” so they couldn’t be duped. It is simply impossible, at least within our means, to totally remove whatever signal that is. 

The good news is that now, the audio quality is absolutely superb and absolutely in synch. The only slight imperfections have to do with the video portion. Now and then, you’ll see some very, very faint lines on the picture. And there are four, count ‘em, instances where there are picture drop outs. Two are of one-second duration. The other two are at about 2.5 to 3.0 seconds in duration. All and all, this is pretty darn good in terms of a quest for perfection. 

We’ve just gotten in another Tony title, recorded in France in 1990 by the same band that appears on “Tony Williams Live in New York.” Additionally, we are considering the release of a wild 1972 session, a duo of Tony and Jan Hammer. The quality is just “good” on this, so we’re still in the “consideration” phase. 

Later this week, look for some exciting Gene Krupa “discoveries,” including the actual jam sessions held in Benny Goodman’s apartment in honor of the 30th anniversary of the Carnegie Hall concert; actual “synched-up” footage of Gene with the Goodman band of 1943; additional footage of Gene at the Metropole in 1967 and most of the remainder of the famed “Anatomy of Pop” tv special of the late 1960s, and other newsreel footage of Art Tatum, Dave Tough, Billy Taylor, Duke Elllington and many more. Keep swingin’ until next time. 

Bruce Klauber

This will constitute the final public comments on the unfortunate Buddy Rich matter. Though I have apologized to the involved parties personally and on the Buddy Rich web site, I felt it all together fitting proper to make a statement on the JazzLegends.com web site. 

I was wrong and I was in error. It’s that simple. Many of you supported me during the terrible year I’ve had in line with my mothers’ terminal illness, and the trauma that I went through during this time clouded my judgment in a number of areas. This was one area, and I cannot tell you how sorry I am. 

Certainly, not everyone is in agreement as to how Cathy Rich and Steve Arnold are handling the release of Buddy Rich material. Most of the Buddy fans, to be sure, would just love to see everything in existence out there on the market. But that’s not how things work. You try it! 

It is important to remember that without Cathy Rich and Steve Arnold, there would be no “Wham,” no “No Funny Hats,” no “At the Top,” no “Montreal Jazz Festival,” no “Lost Tapes,” no Pacific Jazz reissues with previously unreleased material, no “Buddy Rich Memorial Scholarship” projects, no “Burnin’ For Buddy,” no “Buddy Rich Jazz Legend” video, no “Buddy’s Buddies” with Steve Smith, and no official Buddy Rich web site. I’ve probably missed a few things here and there, as I’m pretty certain that Cathy and Steve were involved with the recent Verve reissues of “Buddy and Sweets” and “Blues Caravan,” and the superb Mosaic boxed set of wonderful 1950s and 1960s material. 

These items alone constitute a rather large treasure trove of essential material that simply would not be in existence if it were not for Cathy and Steve. 

I would ask all of you who have made negative remarks in line with this hurtful situation to stop. For all of us who continue to appreciate the music of Buddy Rich, it is important to understand that Cathy Rich is the only “conduit,” for lack of a better word, to the man. And therefore it must be nurtured, preserved and appreciated. Cathy Rich and Steve Arnold were not wrong. I was. 

Bruce Klauber

Lou Rawls, who died today at the age of 72, was a wonderful artist and a great human being. Though never a jazz singer, per se, though he recorded with a number of giants through the years, and helped introduce millions of people to jazz who might not have listened to it otherwise. The presumption is that if folks felt that “Lou Rawls was a jazz singer” then jazz “has to be good.” He opened the doors for singers and instrumentalists like George Benson and dozens of others, never misrepresented his talents, and while he did experience the hit records, “You’ll Never Find” among them, I don’t believe he ever subverted his talent for the sake of sales. 

His work on behalf of the United Negro College Fund was legendary, and if memory serves, only Lou Rawls was able to get a certain Mr. Francis Albert Sinatra to appear on the then fledgling UNCF telethon, only a struggling syndicated operation at that point. Such was the charm and the talent of Lou Rawls. 

He had almost a reassuring voice, some would say maybe an outgrowth of King Cole and Billy Eckstine, with none of the excesses that we hear—okay, I hear—of today’s alleged, jazz and jazz oriented singers, male and female. 

Lou Rawls, to his credit, was pretty much free from scandal and the gossip column and tabloid mongers through the years. He must be one of the few. On a personal basis, and that’s the only way I’m able to measure a man accurately, I can report that Lou Rawls was quite special. 

He was performing in the main room of Atlantic City’s famed Golden Nugget, circa 1984. This was during the “golden age, “ at least entertainment-wise, of Atlantic City. It’s difficult today to realize that it existed. Think of it: the main stages were populated by the likes of Frank Sinatra, Dean Martin, Don Rickles, Steve and Eydie, Vic Damone, Eddie Fisher, Diana Ross, Al Martino, George Carlin, Alan King, Shecky Greene, and yes, Lou Rawls. But the real action, for those “in the know,” was in the lounges. It was unbelievable , as this “free” lounge entertainment included talents like Keely Smith, Chris Connor, Earl Hines, Teddy Wilson, Red Norvo, Buddy Greco, Billy Eckstine, Billy Daniels, Joanie Sommers, Sam Butera and The Wildest, Dakota Staton, Frankie Randall (also the Nugget’s Entertainment Directoror) and dozens of others. Incredible. You should have been there. 

I had a wonderful association with Atlantic City back then, both playing in the lounges with the likes of vocalists Connie Lesem, Sonny Averona, Joy Adams and my own combinations; as well as writing a regular column for Atlantic City Magazine, entitled “Backstage.” What a time. 

At this particular time, I had become enamored, and there is no better word, of one of the female singers working the Golden Nugget Lounge. Trying to make an impression and win her over, I became something of her gopher/messenger/pr person/major domo, be it carrying her music, rehearsing the band, running interference with the front office, etc. I had no idea of how much I was embarrassing myself. 

That’s when Lou Rawls stepped in. One fine evening at the conclusion of all the Golden Nugget Lounge show, circa 2 a.m., yours truly was waiting, outside the lounge with hat in hand, truly dejected, and with said singers’ music in my other hand. It appeared, literally and figuratively, that I had been left holding the proverbial bag while Ms. Big Time Lounge Singer was off to party with the big wigs. And who should appear out of thin air at that moment? Lou Rawls. 

“You don’t need this, kid,” Lou said to me. “You’re a talent in your own right; playing here, writing your column. I’m telling you not to do this. You’re bringing yourself down. Get rid of her, man.” 

“How did you know what’s going down?” I asked Lou. 

“Everyone can see it,” he replied, “and Frankie Randall asked me to talk to you.” 

Things changed after that. Atlantic City has never been the same. Nor have I. It was a magic time. People cared about entertainment then. People cared about people then. Lou Rawls took the time to talk to a sad, lovesick youngster and set him straight. 

And Lou, it worked. May you rest—and keep swinging soulfully—in peace. 

In other assorted matters, on behalf of Joy, Judy, my brother Joel and yours truly, we thank you from the bottom of our hearts for all the condolences and good wishes we’ve received from all over world on behalf of the late, great, Frances Klauber. She was and will always will be a one of a kind. 

The good people from one of this world’s most stellar record labels, Mosaic, have released an astounding boxed set of Buddy Rich’s small group work for Verve and Argo from the early 1950s through the early 1960s. We will be writing about this in detail shortly, but let it be said that this among Buddy Rich’s most important and inventive work. Though he was known at the quintessential big band drummer, BR’s work with small groups–especially his own–has been overlooked for years. This is a must have. 

Bruce Klauber

Frances Klauber, singer, dancer, recording artist and ASCAP executive, lost the long fight against pancreatic cancer two weeks ago, Sunday. Her last days were spent singing and jamming with her sons, Bruce and Joel, and daughters-in-law, Joy Adams and Judith Ross, at the Bryn Mawr Terrace nursing home. We thank each and every one of you for your prayers and good wishes through these difficult months. Please be aware that each and every order–and we hope there are thousands more–will be fulfilled in due time, one by one. Your support, kind words, encouragement, understanding and compassion were and are most sincerely appreciated. We will never forget it. 

Bruce Klauber

Some may deem this to be a bit inappropriate, but it’s my web site and I can say and do what I want! And if that sounds like shades of “it’s my ball, so it’s my game,” so be it. Seriously, and forgive me if I’m a little sentimental at this time, so many of you–from all over the world–seem like family to me. I’ve never felt like anyone who ever visited JazzLegends.com was a “customer.” A supporter? Yes. A friend? Yes. Perhaps it’s because we all have one thing in common, no matter where we live and what our backgrounds may be. That’s the love of jazz, generally, and the music of Gene Krupa, to be more specific. 

Those of you who have been receiving periodic, personal updates from me are aware that my mother, Frances, has pancreatic cancer. She just celebrated her 92nd birthday last month and she is as feisty as ever, but what she has just cannot be stopped and we’re told that time is relatively short. She is quite, quite comfortable in a convalescent home outside of Philadelphia, though she detests the food and is less than thrilled with the rotten chord changes of the pianist who comes into the dining hall to entertain a few times a week. 

Frances knows changes and she knows tempos. She grew up in the vaudeville era, and from what I’ve been told, was an active participant in it as a singer and dancer in amateur shows all over the Philadelphia area. Indeed, the story goes that one or both of her brothers, Mitchell and Jack, used to go with her to gigs for the sole purpose of collecting the money thrown at Frances on the stage! The “take,” I’m told, could really add up for those days. I also understand from various sources through the years that my mother was asked to go on the road by some rather well-known vaudevillians. However, given the reputation of show business folk at the time (they were, of course, all drug addicts and drunks), Frances’ family absolutely and unequivocally forbid it. She could have made it. Her test recording of “Apple Blossom Time” came about seven years before The Andrews Sisters had the hit on it. Coincidentally, and we all know show business is bizzare, I went throught the same thing in 1978 with my recording of “Just a Gigolo” (David Lee Roth eventually had the hit on that one). Mom was the few who understood. 

The business, though, was always in her blood. She played piano, by ear and in the key of G, at home constantly, and at family gatherings, she always entertained, many times with her brothers. She pushed me into taking music lessons at the age of six, first on accordion and later on flute. I hated both instruments, although I love them today. It wasn’t until my older brother, Joel (who many of you know as the renowned musicologist who studied with the legendary writer, Martin Williams), joined a band that I found the instrument I wanted to play. Joel was kind enough to bring me to one of the bands’ rehearsals, and in the corner of the room, there they were: a gold sparkle set of “Revere” drums (for the collectors out there, I believe Revere may have been an offshoot of “Kent”). I was hooked, and as most of you know, I still am. 

Like a lot of youngsters in the early 1960s, I wanted to take drum lessons. Gene Krupa and Buddy Rich were getting much television exposure, Joe Morello was the hippest guy out there, Art Blakey and the whole hard bop movement was helping to change the course of jazz, Maynard Ferguson’s band was swinging down the house, Sonny Payne was doing his stick-flipping bit with Basie, Cozy Cole was on the road as a result of his freak hit of “Topsy Part Two,” and even a guy named Sandy Nelson was hitting the pop charts with something called “Let There Be Drums.” My mother found me a good drum teacher, and I studied. And studied. There were a lot of teachers. And a lot of drums in our house. 

Frances, who never drove an automobile, somehow managed to attend every performance of mine throughout the years — and there were many of them — at Cynwyd Elementary School, Bala-Cynwyd Junior High School, and Lower Merion High School. Over the years, and I know this was at Frances’ insistence, my brother and I where schlepped along at famed Philadelphia venues like The Latin Casino, The Celebrity Room and just about every place in the Catskill Mountains that featured live entertainment. Just as a sampling, we saw–more than once–Frank Sinatra, Sammy Davis, Dean Martin, Shecky Greene and Bobby Darin, to say nothing of the jazz greats our father took us to see, including Harry James with Buddy Rich, Thelonious Monk, Sonny Stitt, Erskine Hawkins, Shirley Scott, Basie, Duke, Maynard, Lockjaw Davis, Woody, Duke, and of course, Gene Krupa. You would have had to have been there. There will never be another time like it, and I believe that if it were not for my mother, not only would I have never seen these legends, but I would not be doing what I’m doing or be who I am. When Gene was on the Mike Douglas Show in Philly, my mother made sure I was there. 

Charlie Ventura called my mother at home one afternoon to ask for her permission: Could I sub for drummer Tony DeNicola for a few nights at The Saxony East club in Philadelphia? I was about 16. Not only did she give Charlie permission, but Frances organized a table of ten, front and center that very night, at The Saxony East to lend support. Charlie thanked her, in fluent Yiddish, believe it or not, that night. 

My mother was often overshadowed by my more flamboyant father, but in her day, she was the one who got the things done that had to be done. In 1959, a local, children’s television host by the name of Sally Starr announced on her program that The Three Stooges were coming to Philadelphia at a club called The Latin Casino, then located at 13th and Walnut Street in center city. Non-Stooges fans may not understand, but I had to be there. I cannot imagine how distasteful this must have been for Frances and Charlie (I recall my father saying that The Stooges were corny when he was a boy), but we got there, and I guess I’m among the chosen few who can, today, say that “I saw The Three Stooges.” My mother got me there. 

We have had our differences over the years and still do, but at times like this, one begins editing out the negative stuff. And that’s a good thing. After all, how many kids can say that their mom got them in to see The Three Stooges. That’s love. And I won’t forget it. Here’s hoping she’ll be bitching about bad chord changes for some time to come. 

In “other business,” there is, we believe, an astounding new discovery on its way to Jazzlegends.com. We have heard a song or two over the years from a Jazz at the Philharmonic concert from Hamburg, Germany, from 1956. Some of you have heard the JATP ensemble introduce Krupa’s solo on “Drum Boogie,” and one of the versions of Gene backing Dizzy Gillespie on “My Man.” We understand that the entire concert, if not more, is available, with Gene as the only drummer of the evening, backing everyone from Dizzy to Ella Fitzgerald. Watch this space! 

My sincere thanks to all of you, my friends, for allowing me this forum. God bless and keep swingin… 

Bruce Klauber

Lest you believe that there are no drummers other than Gene Krupa, it is appropriate that we occasionally look at the artistry of other percussionists if only because some of them are featured on these pages. Buddy Rich has been a hero and an idol to many of us, regardless of our age or level of talent, and there’s a good reason for that. To these ears, Buddy Rich was, is and will always be the greatest drummer who ever lived. Like many of you, I saw him in person hundreds of times and probably have every record he ever recorded and almost every piece of video and film with his image on it. Technically, he was simply inhuman. More importantly, though, with rare exception, he swung like mad and drove and spurred on players to play way above themselves. And this happened in a wide, wide variety of circumstances, from his own big band to the Tatum/Hampton/Rich trios. 

Still, through the years, he wasn’t always the darling of critics. “Too loud,” “too heavy,” “no taste,” were some of the comments offered through the years by the music writers. One fellow went as far as to liken Buddy’s drumming to “a Las Vegas act.” Most of those opinions and quotations have been long forgotten. But there is one set of criticisms that won’t go away, and that concerns Buddy Rich’s participation in a legendary recording session. “Bird and Diz” was recorded on June 6, 1950 in New York city for Norman Granz’ Clef label, and featured a dream lineup of Dizzy Gillespie, Charlie Parker, Thelonious Monk (the only time Monk ever recorded with Diz and Bird), bassist Curly Russell and Buddy on drums. 

Some of the comments about Rich’s drumming on this session ranged from the mild, with terms like “stylistically inappropriate,” to the downright mean. One writer accused Buddy of trying to “sabotage” the session, and another went a step further by saying Rich’s sounded like “a refugee from a drum and bugle corp” on this date. 

Now a compact disc with many, many alternate takes and false starts; “Bird and Diz” remains very much in print and continues to be reissued from time to time. This recording, in LP form, was among my absolute favorites through the years, and I’ve just pulled it out again for yet another careful listen. 

The truth of the matter is that, yes, maybe Roy Haynes, Max Roach or Stan Levey would have been more “stylistically appropriate” for this recording, but Buddy’s presence makes it so much more interesting. Leave it to Norman Granz to mix all the different styles and “see what comes out.” It’s a shame that’s not done more today. 

Buddy’s bop? It’s common knowledge that Buddy wasn’t thrilled with bop or bop drummers initially (Mel Torme’ said that Rich called them “fumferers”), but he dealt with his share of boppers in his own early bands, which included players like Alan Eager, Terry Gibbs and Johnny Mandel. Whether he liked it personally or not, he was certainly listening to bop, and it’s clear that the assimilated some of the language of it, at least those parts of it that he felt comfortable with and fit in with what he was doing. And in terms of being able to “hear” what was going on musically, however progressive it may have been at the time, it is important to remember that Buddy Rich could “hear” virtually anything. 

The fact is, Buddy Rich sounds great on “Bird and Diz.” Rhythmically grounded in the swing era though he may have been, he accompanies beautifully, is dynamically sensitive to Monk, and really inspires Dizzy. Buddy’s dropping some bass drum bombs here and there and his left hand, as always, interacts between his right foot for some very tasty independence. His breaks and solos are models of perfect time and of the Buddy Rich style, some of them even sounding closer to Gene than Buddy. Buddy, naturally, always had that bass drum going, and it that’s considered the swing style and stylistically inappropriate, so be it. I think it swings like mad, and to hear Buddy Rich on closed hi-hats, gently backing up Thelonious Monk is an example of why the best of jazz is, indeed, “the sound of surprise.” 

Rich’s drums were never that well recorded on his many 1950 Verve/Clef/Norgran dates, and his sound tended to vary from recording to recording. On “Bird and Diz,” the drum and cymbal sound isn’t great, which may have led some of these music writers to hear things they weren’t really hearing. Then, too, we must remember that this was 1950, long before the advent of high fidelity. Some of the problems, false starts and breakdowns on this recording were attributed to Rich. But listen carefully to what’s going on in the studio. Monk and Dizzy have their share of problems, and Curly Russell, though a good bassist who played on hundreds of bop sessions, is clearly no Charlie Mingus or Ray Brown in a rhythmic or tonal sense. If Buddy Rich exploded here and there on this record, I’d say it was because of frustration. And no, in 1950 he was not fully comfortable with the be-bop language, but he was getting there. Remember that be-bop drummer he met on record in 1959? And remember the outcome? 

Take a listen to “Bird and Diz” again. It’s as joyful as hearing Gene Krupa backing up Dizzy Gillespie, Red Norvo accompanying Charlie Parker, or Sonny Rollins meeting Coleman Hawkins in the recording studio. As for me, I’m now listening to Buddy Rich’s explosive four-bar breaks on take seven of “Leap Frog.”

The late and great Steve Allen, originator of the “Tonight Show” format, was well known as a jazz fan, friend to jazz musicians and a pretty decent jazz pianist. Few remember that Allen really went out on the television limb in the mid-fifties by booking folks like Billie Holiday, Lenny Bruce, Art Tatum, Charlie Parker and many others. 

Johnny Carson, who died Sunday at the age of 79, will be remembered as the quintessential talk show host, comic and interviewer, but Carson also continued Steve Allen’s legacy of using the power of television to further the cause of jazz. An amateur drummer since childhood, Carson was more than a fan. He supported the music and the musicians publicly and privately. 

As one rather spectacular example, it was Johnny Carson who helped jazz drummer Buddy Rich become a star again, at a time when a 50-year-old Buddy Rich and big bands were considered old hat. Carson opened up his program to Buddy and Buddy’s new big band, beginning around 1966, and helped garner an entire new audience of all ages for “Buddy Rich: caustic comic and world’s greatest drummer.” Rich always credited Johnny Carson for reviving his career, and as thanks, awarded Johnny with a brand new set of drums. Carson loved Buddy Rich as a person and worshipped him as a player. When I was in the midst, along with the Rich Estate, of writing and producing a video tribute to the great drummer, there was nothing Carson wouldn’t do for us. 

“The Tonight Show Starring Johnny Carson” was, of course, an entertainment program. Hard core jazz fans, naturally, didn’t think it should be that way. Years ago, I vividly recall the jazz purists saying that Carson’s conception of jazz was Dixielanders Al Hirt and Pete Fountain, entertaining players who were booked frequently. But what my purist colleagues (yes, I was one) didn’t know, was that booked along side a Pete Fountain or Al Hirt would be someone like jazz singer Joe Williams (booked over 50 times), or Sarah Vaughan (booked over 20 times). 

The other argument, in line with television’s always-at-a-distance relationship to jazz, was that a program like Carson’s only booked the most “popular” jazz players, i.e., Duke Ellington, Count Basie, Louis Armstrong, etc. Where were the likes of the more creative players like Dizzy Gillespie, Max Roach, Miles Davis, Clark Terry, Freddie Hubbard and the Modern Jazz Quartet? For the record, let it be said that each and every one of these players made at least one “Tonight Show” appearance. Dizzy Gillespie was on at least a dozen times. Wynton Marsalis made his first television appearances at Johnny Carson’s insistence. You can look it up. Gene Krupa was on two times that we know of, and rumors continue to abound that Gene and Buddy actually had their famed drum battle on the “Tonight Show.” 

Carson’s show was the last to feature what was called a “big band” as the house orchestra, with jazz as its common language. While players like Carl “Doc” Severinson and Tommy Newsome played the stooge on camera, the record will show that they were and are top, jazz-oriented players who staffed “The Tonight Show” orchestra with the greatest jazz musicians who ever lived, from Ed Shaughnessy and Grady Tate to Pete Condoli and Ernie Watts. Whether they were backing a comic, a vocal duo or Buddy Rich, the always swung. They’re still on the road and still swinging under “Doc’s” leadership. 

I doubt whether Johnny Carson ever thought he would be credited with these considerable contributions. But the record speaks for itself, and the careers of many jazz people would be considerably less were it not for him. The jazz world will miss him. 

Postscript: After reading this article, arranger John LaBarbara commented, “Few people really knew how good a friend Johnny Carson was to jazz and to jazz musicians.” 

“Tonight Show” drummer Ed Shaughnessy took a copy of this piece to Doc Severinson, while they were both on a “Tonight Show” band gig in Spokane Washington on Thursday, January 27th. Shortly after, Doc and Ed got a call from the David Letterman people, saying they were flying Doc, Ed and Tommy Newsome out to New York city to participate in a tribute to Johnny Carson that aired on the Letterman program last everning, January 31st. 

This article is now appearing on the web site of the Berman Music Foundation, a non-profit organization dedicated to the music and musicians of Nebraska, Johnny Carson’t birthplace; and it will also appear in the next issue of “Not So Modern Drummer” magazine. 

The piece was not written to gain attention, or publicity of any kind. Indeed, it was sent out privately to friends and colleagues in the music industry. I had no idea so many people felt the same way I did. 

Keep swingin’ 

Bruce Klauber

Most of the letters and emails we have received over the years thank us for making this material available. Many of those notes, by the way, have been sent to us by Gene’s friends, family and personal and professional associates. Nothing could make us happier. The goal of JazzLegends.com is, simply, to make this material available. 

On the other hand, since we’ve been at this, we have received about a good half-dozen complaints from customers who are not satisfied with the audio quality of some of our titles. “This sounds like it was taken from an LP record that is 50 years old,” read one e-mail. Well, in many cases, that’s because it was. 

This specifically applies to our “private edition/limited circulation” LP titles from the 1950s-1960s. We will be right behind you in line at Tower Records, or wherever, to purchase “Burnin’ Beat,” “Great New Quartet,” “The Gene Krupa Story” and the rest, when they are issued commercially released on Compact Disc, and are digitally remastered complete with alternate takes, unissued takes, etc. Until then, just in order to make this material available, we have transferred the original LPs to Compact Disc (in many cases along with additional material), with all the squeaks, pops and surface noise we know and love. Yes, it will sound like a 40-year-old LP. A lot of folks think that’s actually a pretty pleasant sound. 

Regarding the practice of remastering and digitizing, presumably most of you eagerly anticipated, like I did, the “Live at the Inn Club” CD with Gene, Eddie Shu, Dave McKenna and John Drew. This had been listed in Gene’s discography as a “stereo recording” for years, and all of us just couldn’t wait to hear it. What was done to it was a disgrace. It was digitized beyond any musical sensibility at all, which is when we decided to make our transfers without any digital interference. And again, those of you who expect 2005, state-of-the-art digitized sound should look elsewhere. 

Finally, whenever one or more of these titles become commercially available–”The Drum Battle” and “Krupa and Rich” for example–we remove it from our listings. Everyone who listens to Gene and appreciates his music is entitled to the best quality available. If we’re offering something at JazzLegends.com, though it may not be state-of-the-art, you can presume we list it because it comes from the best–or only–source material available. If we don’t offer it, that’s because there are better sources elsewhere…or like the “video of the 1938 Carnegie Hall Jazz Concert,” it just doesn’t exist. 

Keep swingin, 

Bruce Klauber

For those interested in such things, the good offices of Hudson Music are located within New York city’s famed “Manhattan Center,” a concert facility and suite of production offices that has just been overrun by the Arts and Entertainment Network. The whole gigantic building is attached to another venerable New York city institution by the name of The Hotel New Yorker. That’s where I just spent three days, helping to edit the forthcoming Hudson Music DVD that bears the working title of “Lionel Hampton: Jazz Legend.” 

The New Yorker was once among the city’s hotel showplaces. Every big band played there. It’s now own and run by Ramada and caters mostly to foreign tourists, transients and even has a floor or two set aside for student housing. For those who actually read the dictionary, it’s listed in Websters under “F” for fleabag. I could swear I was bitten by two or three of them during the night. I got the sense that those fleas might have been the same ones that were there when Tex Beneke worked the joint. 

The experts will tell you that making a film–or in our case, a documentary or “performance-oriented retrospective”–is about as exciting as watching paint dry. It’s actually a bit more exciting than that, especially when one has an editor as talented as Phil Fallo (“Great Day in Harlem,” among many others) at the helm. Phil can make anything look good. Plus, we had the participation of one of the great mallet artists in history, Mike Mainieri, and a gentleman and scholar who is also the world’s greatest drummer by the name of Steve Smith. These fine people not only narrated our project, but had considerable input into the script. In line with that “considerable input” is the fact that Mr. Fallo and I needed to somehow translate everyone’s additions, corrections and opinions… to what actually appears on the screen. That’s not always easy. 

As an example, take a section about how Hamp just happened to play jazz vibes on an October, 1930, record session where the Les Hite band backed Louis Armstrong on “Memories of You.” No film exists of this, the story is long and involved, and everyone seems to have a different take on exactly what happened almost 75 years ago. Words are great, to be sure, but this isn’t a book. What do you put on the screen? Ken Burns? Where are you when we need you? I’ll take Ralph Burns at this juncture! 

Without giving away trade secrets, let’s just say that I found some vintage film of Pops and Gates together, though not from 1930, and a number of still pictures of them both. Phil Fallo worked his magic with this material, and you’d swear it was, indeed, Louis and Lionel in 1930. Ah…the magic of film. 

Fortunately, Lionel Hampton was among the most filmed and recorded of the jazz giants. That he was eminently photographable and always the showman certainly helped. In “Lionel Hampton: Jazz Legend,” we present film of Hamp in each decade from the 1930s (with the first clip emanating from 1936) to one of his final extended performances with “The Golden Men of Jazz” in 1993. Needless to say, in addition to playing vibes, Hamp plays drums, piano, jumps up on the tom-tom, and mixes it up with the likes of Benny Goodman, Teddy Wilson, Gene Krupa, Milt Buckner, Al Grey, Betty Carter, Billy Mackel, Woody Herman and many, many more. 

Lionel Hampton was an artist who, along the way, played with everyone from Armstrong and Tatum and Gene and Buddy, to Mingus and Chick Corea. And, as we say in the narration, “he swung them all.” Watch this space for release date. 

Book update: “Gene Krupa: The Pictorial Life of a Jazz Legend” (Warner Bros. Publications) will go on press shortly after some last minute proofing and design tweaking. It’s quite a package at 170-plus pages of photos and commentary, measures the size of a coffee-table book, and will come with a CD of unreleased Krupa gems. JazzLegends. com friends take note: I insisted that this be priced in the $16.95 range. When it’s released–and you’ll be among the first to know–be sure to buy early and often! Keep swingin and all my best for the New Year and beyond. 

Bruce Klauber

Since the publication of our book in 1990, “World of Gene Krupa,” there has been an unparalleled resurgence in interest in the life and music of “that ace drummer man.” Thankfully, the marketplace is filled with CD reissues, videos and dvds on Gene and other great drummers in jazz history, web sites, books, posters, tee-shirts, and more than a few Krupa “sound-alike” drummers and tribute bands. Finally, the jazz history books have properly acknowledged Gene’s contribution to drums, drumming and to jazz. 

Though he died at the rather young age of 64, in 1973, Gene had a long and glorious recording career that began in the late 1920s and continued right up until 1973. That’s six decades. Unfortunately, most of the better, commercially issued recordings have long been out-of-print. Aside from a couple of foreign and domestic reissues through the years, it appears that most of them will remain out-of-print. One of our goals at JazzLegends.com is to ensure that those old LPs from the 1950s and 1960s live on. We like to think we have fulfilled that part of our mission, via the transfer to CD of rarities like “Driving Gene,” “Hey Here’s Gene Krupa,” “Great New Quartet” and all the others. 

There’s another significant part to what we do here: As jazz players and jazz fans know, often the best music is made outside of the recording studio. That’s why we’ve devoted so much time and energy to tracking down Gene’s radio and television appearances, live concerts and projects done for the overseas market. We strongly urge you to check out our newest discoveries, highlighted by something called “So Rare.” Even the folks here at JazzLegends.com can’t believe some of the tracks on this CD. 

We apply same philosophy to our VHS videos. Gene’s films and film appearances were wonderfully entertaining. Sadly, they will likely never be released commercially and are rarely shown on television. We won’t let them disappear. Our “Raw Footage” tapes are a great complement to the full-length films, and offer glimpses of Gene in rehearsal, being interviewed, on television and in rare film shorts. 

Please note that our pricing policy has changed, and is undoubtedly the most reasonable price structure in the business. Collectors have long been paying hundreds and thousands for material like this over the years. Our prices? All CDs and books are $15. All videos are $30. Shipping is free worldwide. That’s it. 

In the news department, we have received word that “The Gene Krupa Story” will be released to DVD on or about May 18th. Don’t ask why, but there are no extras on the DVD. They could have come to us: The famed “Jammin’ With Gene” promo short with Sal Mineo is on our “Gene Krupa: Jazz Legend” video. The original theatrical trailer to “The Gene Krupa Story” is on our video “Classic Drum Solos and Drum Battles.” And we also have Gene’s appearance with Sal, promoting the film, on a 1958 “I’ve Got A Secret” tv show. In the not-too-distant future, perhaps we will put all these “promo” pieces on one video. 

We’re also told that a CD reissue is on its way in the form of the great, “Gene Krupa Plays Gerry Mulligan Arrangements” recording. No word about alternate takes yet, though most of these reissues seem to be straight transfers of what was on the original LP. Note that whenever a title is issued commercially, we do take it out of our catalog. 

As many of you know, by way of my longtime affiliation with Hudson Music, I’ve gotten the chance to work with drummer extraordinaire, Steve Smith, rather closely on a number of projects. I will tell you, unequivocally, that there is no better drummer than Steve out there, and that if he’s appearing in your neck of the woods with Buddies’ Buddies, Vital Information or in a clinic or master class, just go and see him. You will be astounded. 

On a more personal basis, I will hopefully be doing some classes and a film presentation called “The History of Jazz Drumming on Film” in tandem with Steve–and solo–in the not-to-distant future. Check this space for details. By the way, Steve Smith, as well as Gene, Buddy and all of the past, present and future legends of jazz drumming (including yours truly!) use Zildjian Cymbals. They were, are and will always be “the only serious choice.” 

We intend to use this space to let you know about updates, new products, and things we’re working on. And please tell us what you’re looking for and what you’d like to see. We’re here for you 

Bruce H. Klauber, D., Mus.