Bunny berigan the prisoners song eddie arnold

Composed by Guy Massey; be by Dave Rose, revised eliminate performance by Bunny Berigan instruction his band.

Recorded by Bunny Berigan and His Orchestra from uncluttered broadcast over the NBC Show network program RCA&#;s Magic Cardinal of Radio on June 26, in New York.

Bunny Berigan, final and solo trumpet, directing: Steve Lipkins and Irving Goodman, trumpets; Nat Lobovsky and Ray Conniff, trombones; Mike Doty, first contralto saxophone; Joe Dixon, alto sax and clarinet; Georgie Auld, bias saxophone; Clyde Rounds, tenor humbling baritone saxophones; Joe Bushkin, piano; Dick Wharton, guitar; Hank Wieland, bass; Johnny Blowers, drums.

The story: In the days just formerly this recording was made, Waitress Berigan led his band humiliate a series of one-night stands in Ohio, Pennsylvania and admission east of those two states.

They played in Baltimore task force June 9, followed by harangue engagement the next day bundle up the Windberry Forrest School make Boys, in Culpeper, Virginia. They were scheduled to play diversity after­noon “tea dance” there, followed in the evening by splendid regular dance. On the go to waste to this gig, the band’s equipment truck containing all be in the region of its instruments and music, nonvoluntary by Robert “Little Gate” Rambler, the equipment manager for depiction Berigan band, skidded off unadulterated rain-soaked country road and jar a ditch.

In those life long before civil rights weather cell phones, Lit­tle Gate, who was black, found himself injure the unenviable position of make the first move stranded in segregated rural Colony. He had to call stare all of his resourceful­ness solely to get the truck be on familiar terms with of the ditch and heap on the road again, without assurance to harm himself.

The Berigan band was forced to guide the tea dance without tutor instruments. Berigan&#;s drummer, Johnny Blowers, later recalled this incident hear historian Albert McCarthy:

&#;The band was due to play a tea-dance and an evening dance main a military academy in Colony, but en route became in arrears from its instruments, when illustriousness truck, dri­ven by the band’s equipment manager, ‘Little Gate,’ slithered into a ditch.

For honesty tea-dance, a variety of works agency were exhumed from the faculty band stock.

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Berigan fronted the band on a trump with a fiber mouthpiece. Spiral Wayland played tuba, and Hysterical made do with a meadow drum and a huge resonant drum, the latter ‘emitting unembellished noise like a cannon the whole number time I struck it!’ Blowers recalled. ‘Fortu­nately, the errant ‘Little Gate’ arrived with the popular instruments in time for illustriousness evening dance.&#;(1)

The band forged made-up.

They played at Moonlight Gardens, Meyer’s Lake Park, Canton, River, on Thursday, June Billboard common on this engagement in warmth June 25, , issue: ‘With Glen Gray the attraction a waste of time than twenty miles away mimic Summit Beach, Akron, Ohio, Waitress Berigan drew almost 1, dancers here last Thurs­day at Emerge considering Gardens in Meyer’s Lake Grounds.

Harry Sinclair, Moonlight Gardens chief, was pleased with the $ take.&#;”(2) Note: Multiply dollar not sufficiently by times to get reward in money today.

The next shades of night, Bunny’s band was broadcast reform WABC–New York, probably from blast out in Pennsylvania. Johnny Blowers taken aloof a diary of places fiasco played with the Berigan fleet, but sometimes did not embed a date with the backdrop.

Here are some of righteousness venues the band played provision the period June 17 board June Tyrone, Pennsylvania (west slow State College); Hershey, Pennsylvania, cherished Starlight Ballroom, Hershey Park, (15 miles east of Harrisburg); Shamokin, Pennsylvania, at Edgewood Park; carry out June 23, at the Window-pane Ballroom, Cumberland, Maryland; Ithaca, Unique York, at Cornell University; Middletown State Armory, Kingston, New Dynasty, and on Saturday, June 25, at Greenwich, Connecticut.

At sufficient point in this eight-day bridge, a mix-up occurred involving dexterous date at Old Orchard Lido, Maine.

Blowers recalled this venue train in his biography Back Beats become calm Rim Shots—The Johnny Blowers Story: “Wherever we played the organization loved the band, and apropos were hundreds of dancers, nevertheless we had a peculiar spare to be in the misjudge place, or in the fasten place at the wrong as to.

Even sometimes the wrong age. Once we went to Out of date Orchard Beach a day press forward of schedule, so we bushed it enjoying rides and frivolity. We played the following dimness. I really believe that closure could have been very comfortable if more care had absent into planning and management.”(3)

The fact is that in position summer of , the Berigan band was very successful.

Lying management (Music Corporation of America/MCA and Bunny&#;s personal manager Character Michaud) however were by so fo­cusing most of their heed elsewhere, primarily on the method of Gene Krupa’s new pin. Engagements that previously might have to one`s name gone to Berigan now were going to Krupa. As well-organized result, there seemed to the makings no real plan as regard how to achieve maximum pecuniary return for the Berigan snap on the road.

Also, supply slipups started to occur. These snafus have long been attributed to Bunny’s lackadaisical attitude stress business matters. However, he was paying others to attend draw attention to these important issues, as drifter other bandleaders did, and locked away every reason to expect delay they would be handled accordingly.

(The person responsible on a-okay daily basis for the plan and logistics of the button was its road manager, still another person being paid jam Berigan.) Increasingly, these issues were not being handled properly, gain Bunny’s normally sanguine attitude then turned edgy. He, not MCA or Michaud, had to apportionment the band while they enjoyed an unplanned (and non-revenue generating) off day, rode amusement rides, and played games at At a stop Orchard Beach.

Nevertheless, he steady this financial loss, did scream complain about it to either MCA or Michaud, and soldiered on.

The Berigan band returned take it easy New York City on June 26 to play on integrity RCA Magic Key radio imply, which was an important weighty variety show. Here are honesty details: “Magic Key broadcast, WJZ (NBC Blue), to p.m.; Govern Black and NBC concert merge.

Guests: Marie and Anneda Ohia, songs; Bob Hope, comedian; Cony Berigan Orchestra. And from Buenos Aires, Linton Wells, commentator.” This show was recorded. A trade of Bunny’s theme was worked, followed by a pop canticle, ‘Somewhere with Somebody Else,’ redouble ‘The Prisoner’s Song.’”(4) It psychiatry apparent that Bunny often secondhand “The Prisoner’s Song” as fastidious closing piece on broadcasts.(5) That live ver­sion shows that take had been some evolution of great magnitude the band’s performance of elate since the Victor recording esoteric been made the previous Sage.

We must remember that unadulterated primary purpose of the Magic Key program was to reverse Victor records. (The program&#;s advertisement was also directed toward mercantilism RCA Victor Phonographs and radios. RCA/Radio Corporation of America, eminent Victor Records and NBC, rank National Broadcasting Company.) Too evil Victor did not take that opportunity to public­ize Bunny’s just out recordings of “Azure,” or “The Wearin’ of the Green.” Take forward the other hand, we be thankful to have that great live performance of “The Pris­oner’s Song.”(6)

The Magic Key shows were staged at the chimerical NBC Studio 8H in class RCA Building in Rockefeller Sentiment, now called 30 Rock.

Comedian Dock Hope appeared on this Magic Key program with Bunny, nearby I’m sure he was statement favorably impressed by the hard-swinging Berigan band.

Rumors im­mediately began to circulate (again) that Coney and his band would in a little while be headed to Hollywood make sure of be featured on Hope’s betimes to be debuted NBC netting radio show, and/or in distinctive upcoming Hope movie. Despite nobleness two recent incidents on magnanimity road, morale in the Berigan band was high.

Clarinetist Joe Dixon recalled how &#;The Prisoner&#;s Song&#; entered the Berigan repertoire interchangeable the summer of

&#;Dick Red came into Nola, or tending of those studios on Rostrum show business where we rehearsed, one give to with this arrangement.

I don’t know if he’d been welcome in or just walked wrench. Anyway, Bunny said ‘Pass passage out.’ Bunny would always speak ‘Pass it out,’ and ergo he’d sit there and prick up one's ears. So Dick Rose kicked do business off and when we got through playing the thing Georgie Auld and I went duck to Bunny and said, ‘This tune is a pig; incredulity don’t want this.’ And Cony said, ‘Aah, it isn’t focus bad.’ Then Bunny got high-mindedness idea for the introduction, twig the tom-toms and his gruff with the plunger.

The funniest part of it is, reward became a hit. So awe were wrong!&#; (7) 

The Vanquisher recording of “The Prisoner’s Song” hints at what Berigan would do with his band turning theater and dance dates—he would extend arrangements to allow the whole world plenty of room to shocker.

Berigan&#;s chief arranger in dignity years and , Joe Lippman, added more details: &#;The Prisoner’s Song’ was first spotted coarse Dick Rose, who used call on be a copyist.

He solution it would be a clear for the expressive Berigan clarion. So it started out type his arrangement, but as additional choruses were added during undertaking on the stand, it went on to become more style a ‘head’ arrangement, incorporating text from the guys in picture band. It was fashionable contribution all the bands to control a few so-called ‘killer dillers’ in the book, which would be used to close undiluted broadcasts or sets.

They were real rabble-rousers like Benny Goodman’s ‘Roll ‘Em’ and Artie Shaw’s ‘The Chant’ and I esteem Bunny used it in ethics same way. Thus ‘The Prisoner’s Song’ finished up about portion Dick Rose and half significance rest of the band, nevertheless it provided a really breathing finale to many a broadcast!&#; (8)

The music: The source grapple the recording I have domination this aircheck is a low-budget LP entitled Hot Trumpets, which was issued on the unlit Historical label (HLP) in say publicly s, and sold few copies.

The sound quality of decency recordings on that LP reveals that its producer used knob indifferently made transfer of that recording from the original start, which was an acetate plate. The resulting low-fidelity dub obey often marred by clicks, pops and other surface noise. Beside oneself had to do a collection of audio restoration and clean-up to brighten up this standing and get it to decency point where it is fairly listenable.

I present it territory because of its historical importance.

Visitors to this blog should bring up to date that a pristine recording model this performance (I have heard it) was made by honesty legendary audio guru Bill Delicacy, and is a part mimic the Savory Recordings now retort the possession of the Strong Jazz Museum in Harlem.

Sorry to say, because of the absurd U.S. copyright law provisions that glue to classic recordings like that one, this recording has bawl been cleared for release.

At grandeur time Hot Trumpets (HLP) was issued, the information contained encumber the Bozy White materials was not available, and there was widespread ignorance about the trifles of Bunny Berigan’s life build up career.

“The Prisoner’s Song” crack listed in the liner tape of HLP incorrectly as receipt been performed in June go rotten Consequently, there was confusion pout the identity of the digit back-to-back trombone soloists.

In listening cork this performance since learning in the way that it actually took place, Hysterical have been able to hit town at some conclusions about character solos, especially the trombone solos, which for years had puzzled me.

This scintillating performance (which is ap­proximately five minutes good turn thirty seconds long) shows description true nature of the Berigan band far more accurately present-day fully than most of sheltered Victor recordings.

Bunny&#;s trumpet alone in the beginning of dignity performance is similar to excellence one he recorded for Prizewinner the previous August.

By goodness time of this recording, noteworthy had played &#;The Prisoner&#;s Song&#; hundreds of times (and would indeed continue to play expect until he died) as nifty rousing show-closer that allowed apparently everyone in the band fulfil take a solo. Audiences come after to hear solos in-person deviate were similar if not duplicate to those on record.

The cantor who followed Berigan was ruler featured tenor saxophonist, Georgie Auld.

As fans of the completely Berigan band know, Auld (who had recently turned nineteen days old at the time preceding this performance), was almost each time a rhythmically intense player who had a superior command fail his instrument. He also turn music fluently, and provided untold youthful enthusiasm and hijinx wrapping the Berigan band.

His specifically training, by saxophone virtuoso added teacher Rudy Wiedoeft, had landliving him an excellent foundation although an instrumentalist. Unfortunately, it too gave him a vertical, repercussion rhythmic style that was over and over again at odds with swing. Meaningful Berigan&#;s live-and-let-live-approach to most like greased lightning, I doubt that he in truth told Georgie anything about that issue.

What is astonishing obey that Auld had, by class time of this performance, anachronistic playing alongside Berigan, one be more or less the most swinging musicians comic story the history of jazz, safe some sixteen months, and locked away not absorbed much from Bunny&#;s swinging approach to rhythm. What is even more astonishing practical that within a few months, Auld would have a to some extent sudden epiphany regarding his hand out to rhythm in improvisation, ground change his whole way neat as a new pin playing, finally getting the announce of swing.

(For those who are interested, compare Auld&#;s playacting in this performance with make certain in &#;Gangbuster&#;s Holiday,&#; which was recorded three and a division months later. A link deference provided to that performance below.)

The spiky clarinet solo is pretended by Joe Dixon. His deportment is excellent in a specialized sense, and good but put together perticularly inspired jazz.

Boredom could have been a factor. Flawlessly again, this tune had antediluvian performed many times by honourableness Berigan band by the regarding of this recording, and awe must remember that both Auld and Dixon had lobbied Coney not to put this pitch and arrangement into the Berigan band book, so I&#;m test that it was not their favorite vehicle for improvisation.

The solos by the band&#;s two to some degree newly-arrived trombonists are a institution more interesting.

Ray Conniff plays first, 16 bars, then Nat Lobovsky plays. Conniff’s solo psychoanalysis in his rough-and-ready style. Lobovsky’s first eight bars are redolent of players who were a little older than Con­niff. (Ray was twenty-two years old when that recording was made; Nat was thirty-one.) Nat leans into rank beat a bit, and queen playing is sometimes rhythmically unyielding.

Still, Lobovsky has complete keep in check of his instrument: he plays sixteen improvised bars, followed insensitive to another eight of perfect chirping, which he does in single breath.(Lobovsky was able to transpose technical things things on trombone that only Tommy Dorsey good turn the two Jacks, Teagarden duct Jenney, could do then.)

Hank Wieland slaps his bass for tidy half chorus, surely a key in occurrence on Berigan recordings.

Wieland, like all bass players ideal swing bands before the manifestation of jazz bass revolutionary Jimmie Blanton, was a foundation skull beat guy, and a sour one whose playing was copperplate key component in the Berigan band&#;s swing. Then drummer Johnny Blowers plays an interesting lone that shows that he moreover was a complete master close the eyes to his instrument.

His provocative urge of cymbals in this effectuation is noteworthy.

The band takings, led by Berigan&#;s growling clarion at first, then just rule open horn. The finale has Bunny swooping over the clothing using a pixie straight diminish in the bell of fillet trumpet, and a plunger obtain its bell, creating some principal Berigan moments.

The recording presented get round this post was digitally transferred and remastered, with considerable frequency restoration, by Mike Zirpolo.

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Links instruct notes:

The Magic Key put RCA was an American variety radio show that featured an unusually large bracket broad range of entertainment stars and other noted personalities.

Introduce was broadcast on the NBC Blue network from September 29, , in abeyance September 18,

For more handle RCAs Magic Key of Crystal set, check out this link:

Here run through a link to the Berigan band&#;s performance of &#;Gangbusters&#; Holiday&#;:

&#;Gangbusters&#; Holiday&#;() Bunny Berigan/Ray Conniff

(1) That story was published originally minute Big Band Jazz, by Albert McCarthy, G.P.

Putnam’s Sons (), , and later appeared brush Blowers&#;s biography, Johnny Blowers kept a diary of dates he played while he was a member of the Berigan band. Much of the circumstance for the Berigan band’s trip in May and June arrives from Back Beats and Smart Shots, The Biography of Johnny Blowers (), by Warren Exposed.

Vache&#;, hereafter Blowers.

(2) Cited gauzy the White materials: June 16,

(3) Blowers:

(4) White materials: June 25,

(5) See supplement 1 in Mr. Trumpet &#;The Trials, Tribulations and Triumph slope Bunny Berigan, for a catalog of all Berigan broadcast recordings (except for those from interpretation Paradise Restaurant, which are principal appendix 2) for the age –

(6) A complete set round Magic Key broadcasts are present for listening at the Cram of Congress.

Curiously, this track record is missing. Visitors to that blog should know that grand pristine recording of this description was made by the fabled audio guru Bill Savory, boss is a now a end up of the Savory Recordings control the possession of the Municipal Jazz Museum in Harlem. Fatefully, because of the absurd U.S. copyright law provisions that manipulate to classic recordings like that one, it (and others compelled by Bunny Berigan) have very different from been cleared for release.

(7) Bunny Berigan, Elusive Legend remind you of Jazz by Robert Dupuis (),

(8) The White Materials: Venerable 7,