GENE KRUPADRUMMIN’ MAN

His 44 Finest

2CDs

1927-1958

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RTS 4174

For further information visit www.retrospective-records.co.uk or contact Retrospective Records, Wyastone Business Park, Monmouth, NP25 3SR, UKReleased under exclusive licence by Wyastone Estate Limited C & P 2011 Wyastone Estate LimitedGeneral cover images C istockphoto.com; Booklet design: info@doubletakedesign.co.uk

RTR 4139BUNNY BERIGAN

I Can’t Get Started

RTS 4144 (2CDs) BENNY GOODMAN & his Orchestra

Swing, Swing, Swing!

RTR 4134STAN GETZ

Autumn Leaves

RTS 4154 (2CDs) BIX BEIDERBECKE –

Young Man With A Horn

Also available on Retrospective:

2CDs

His 44 Finest

1927-19581927-19581927-1958

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Gene Krupa (1909-1973) plays drums on all tracks

DISC ONEGene Krupa & his Orchestra: Corky Cornelius, Torg Halten, Nate Kazebier (tp) Floyd O’Brien, Sid Brantley, Al Jordan (tb) Sam Musiker (cl,ts) Clint Neagley, Musky Ruffo (as) Bob Snyder (as,bar) Sam Donahue (ts) Tony D’Amore (p) Ray Biondi (g) Biddy Bastien (b)1 DRUMMIN’ MAN (Gene Krupa & Truck Parham, 1939; arr. Fred Norman) Irene Daye – vocal WC 2824-A (Columbia 35324), Chicago, 2nd November 1939 3:03With McKenzie & Condon’s Chicagoans: Jimmy McPartland (cnt) Frank Teschemacher (cl) Bud Freeman (ts) Joe Sullivan (p) Eddie Condon (bj) Jim Lannigan (tu,b)2 CHINA BOY (Phil Boutelje & Dick Winfree, 1922) –

Gene Krupa’s first recording session 82031-B (Okeh 41011), Chicago, 8th December 1927 2:45With Red Nichols (tp) & his Five Pennies: Leo McConville, Mannie Klein (tp) Glenn Miller, Jack Teagarden, Bill Trone or Herb Taylor (tb) Benny Goodman (cl,as,bar) Arnold Brilhart (as) Babe Russin (ts) Arthur Schutt (p) Carl Kress (g) Art Miller (b)3 DINAH (Harry Akst; The New Plantation Revue, 1925 show; arr. Glenn Miller) E-29709-A (Brunswick 4373), New York, 18th April 1929 3:12

With The Benny Goodman (cl) Trio: Teddy Wilson (p)4 WHO? (Jerome Kern; Sunny, 1925 show) 92706-1 (Victor 25181), New York, 13th July 1935 3:09

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Nichols and Anita O’Day. She, plus the other big star of the 40s band, Roy Eldridge, had rejoined Krupa in an exhilarating session in 1956 arranged and conducted by Quincy Jones, revisiting all the old favourites – including, of course, Drummin’ Man (track 22).

Sadly Gene Krupa’s health began to fail. He had problems with his back, and in 1960 suffered a heart attack. Although he made a comeback, his hectic schedule was taking its toll and he had to slow down. He announced his retirement in 1967, which lasted until 1970 when he started up his quartet again. He had been able to take part in a number of Goodman reunion concerts over the years, right up to the final one in 1973. But by then he had been receiving treatment for leukaemia for several years, and died finally of heart failure at his home in Yonkers, New York, on 16th October 1973, aged 64.

So died the man known to millions as “The Chicago Flash”, the most charismatic drum legend of the Swing Era. But Gene Krupa’s legacy lives on in his profound influence on all other jazz drummers. To him more than any other goes the credit of making the drum kit a solo instrument, rather than a mere timekeeper and noisemaker. His innovative approach changed the art of drumming, from his invention of the rim shot on the snare drum and his urging the development in the ’30s of tom-toms with tuneable top and bottom heads, to his exploration of every conceivable possibility for all the various cymbals, from modern hi-hat (formerly at foot level) to the rise, crash, splash, pang and swish cymbals. Not surprisingly, in 1978, Gene Krupa became the first drummer inducted into the Modern Drummer Hall of Fame. As these 44 timeless tracks flamboyantly demonstrate, here truly is a “Drummin’ Man.”

© Ray Crick, 2011

RTS 4174

GENE KRUPADRUMMIN’ MANHis 44 finest 1927-1958

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Gene Krupa made his final foray into the Top Ten in 1950 with a highly uncharacteristic offering, Bonaparte’s Retreat (track 14). This had a Dixieland line-up led by the virtuoso cornet of Wild Bill Davison, and featuring the otherwise little-known singer Bobby Scoots. Often decried by jazz critics, this happy number nevertheless demonstrates the sheer versatility of Gene Krupa’s music-making.

By the early 50s the big band era had virtually played itself out, and Krupa began touring with quartets and other small ensembles; and in 1953 he formed a school for drummers in New York, in partnership with fellow percussionist Cozy Cole (of Topsy fame). He was also recruited for Norman Granz’ innovative “Jazz At The Philharmonic” concerts. At one such Carnegie Hall event Krupa jousted with Buddy Rich in The Drum Battle (track 15), although the 1952 mono sound does not allow clear identification of the combatants. Granz was responsible too for the star-studded Gene’s Blues (track 20) of 1955, with Dizzy Gillespie, Roy Eldridge, Flip Phillips and Illinois Jacquet backed by the Oscar Peterson trio!

Gene Krupa’s popularity was still on the crest of the wave; he was back as the nation’s top drummer in the 1952 and 1953 DownBeat polls (as he had previously been from the very first poll in 1936 to 1939, and again in 1943). Representative of the quality of Gene Krupa’s small group work during the 50s is a trio of imaginative Sextet tracks from ’53 (Coronation Hop, Paradise and Overtime – tracks 16-18), in which Gene is joined by the outstanding trumpeter Charlie Shavers and one of the major alto saxophonists of the Swing Era, Willie Smith. The pianist on the session was Krupa’s colleague from the Benny Goodman Trio and Quartet days, Teddy Wilson. Along with vibraphone virtuoso Lionel Hampton, the old buddies were brought together again in 1955 by their involvement in the making of the film The Benny Goodman Story. A separate trio date showed that they had lost none of their exuberant artistry: Airmail Special (track 19).

Gene had his own silver-screen accolade in 1959 with The Gene Krupa Story, retitled Drum Crazy for UK release. Posters screamed: “He hammered out the savage tempo of the jazz era!” Sal Mineo played the title-role on screen, although the drumming was Krupa’s own. The creditably realistic coverage of Krupa’s drugs charge and fall from grace then return to stardom was only rated “a dreary biopic” by Halliwell, but featured some good jazz with Shelly Manne, Red

Gene Krupa & his Chicagoans: Nate Kazebier (tp) Joe Harris (tb) Benny Goodman (cl) Dick Clark (ts) Jess Stacy (p) Allen Reuss (g) Israel Crosby (b)5 BLUES OF ISRAEL (Gene Krupa, 1935) – first Gene Krupa band recording session 90463-B (Parlophone R 2224), Chicago, 19th November 1935 3:07

Gene Krupa & his All-Star Swing Band: Roy Eldridge (tp) Benny Goodman (cl) Chu Berry (ts) Jess Stacy (p) Allan Reuss (g) Israel Crosby (b)6 SWING IS HERE (Gene Krupa, Roy Eldridge & Chu Berry, 1936) BS 100015-1 (Victor 25276), Chicago, 29th February 1936 2:57

With The Benny Goodman (cl) Trio: Teddy Wilson (p)7 TIGER RAG (The Original Dixieland Jazz Band, 1917) 03064-2 (Victor 25481), New York, 2nd December 1936 3:21

With Benny Goodman (cl) & his Orchestra: Harry James, Ziggy Elman, Chris Griffin (tp) Red Ballard, Vernon Brown (tb) Hymie Schertzer, George Koenig (as) Arthur Rollini, Babe Russin (ts) Jess Stacy (p) Allen Reuss (g) Harry Goodman (b)8 SING, SING, SING (Louis Prima, 1936; arr. Jimmy Mundy) –

N.B. Shorter studio recording was a No.7 hit Complete version from the famous Carnegie Hall jazz concert (Columbia SL 160),

New York, 16th January 1938 12:13

Gene Krupa & his Orchestra: Tom Gonsoulin, Tom Di Carlo, Dave Schultze (tp) Charles McCamish, Bruce Squires, Chuck Evans – 10,11 (tb) Murray Williams (cl,as) George Siravo (as) Carl Biesecker, Vido Musso – 9,10, Sam Donahue – 11 (ts) Milt Raskin (p) Ray Biondi (g) Horace Rollins (b)9 I KNOW THAT YOU KNOW (Vincent Youmans; Oh, Please, 1927 show; arr.

Chappie Willet) B 22733-2 (Brunswick 8124), New York, 15th April 1938 2:0810 WIRE BRUSH STOMP (Gene Krupa & Ray Biondi) B 23007-2 (Brunswick 8166), New York, 2nd June 1938 2:1211 RHYTHM JAM (Chappie Willet, 1938) B 23255-3 (Brunswick 8198), New York, 19th July 1938 2:46

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Gene Krupa & his Orchestra: Ray Cameron, Dick Lotter, Jack Mootz (tp) Dalton Rizzotto, Bruce Squires, Al Sherman (tb) Bob Snyder, Musky Ruffo (as) Sam Donahue, Sam Musiker (ts) Milt Raskin (p) Ray Biondi (g) Horace Rollins (b)12 APURKSODY (Gene Krupa; arr. Chappie Willet) – Gene Krupa theme tune LA 1764-A (Brunswick 8296), Los Angeles, 12th December 1938 2:54

Gene Krupa & his Orchestra: Torg Halten, Corky Cornelius 13-18, Nate Kazebier – 13,14, Shorty Sherock – 15,17-21, Rudy Novak – 16-19, Norman Murphy – 19-22, Graham Young – 20-22, Roy Eldridge – 22 (tp) Floyd O’Brien – 13-15, Rod Ogle – 13, Al Sherman – 13, Al Jordan – 14-18, Sid Brantley – 14-16, Jay Kelliher – 17-22, Babe Wagner – 17-22, Pat Virgademo – 19-21, John Grassi – 22 (tb) Sam Musiker (cl,ts) Clint Neagley, Musky Ruffo – 13-15,18-22 (as) Bob Snyder – 14-17 (as,bar), Sam Donahue – 13-16, Walter Bates – 17-22 (ts) Milt Raskin – 13, Tony D’Amore – 14-18, Bob Kitsis – 19-22 (p) Ray Biondi (g) Biddy Bastien (b)13 SYMPHONY IN RIFFS (Benny Carter, 1933) CO 25369-1 (Columbia 35387), New York, 20th September 1939 2:5214 BLUE RHYTHM FANTASY (Teddy Hill & Chappie Willet, 1936; arr. Elton Hill) – No.26

hit WCO 26379-A & 26380-A (Okeh 5627), New York, 2nd January 1940 5:4415 TUXEDO JUNCTION (Erskine Hawkins, William Johnson & Julian Dash, 1940;

arr. Elton Hill) CO 27027-1 (Columbia 35423), New York, 8th March 1940 2:5616 NO NAME JIVE (Larry Wagner, 1940) CO27323-A (Columbia 35508), New York, 21st May 1940 2:5217 IT ALL COMES BACK TO ME NOW (Alex Kramer, Joan Whitney & Hy Zaret,

1940) – No.2 hit Howard DuLany – vocal 28890-1 (Okeh 5883), New York, 14th October 1940 3:0918 FULL DRESS HOP (Roy Eldridge & Gene Krupa, 1940; arr. Elton Hill) 28967-1 (Okeh 6009), New York, 24th October 1940 2:4719 DRUM BOOGIE (Gene Krupa & Roy Eldridge; Ball Of Fire, 1941 film;

arr. Elton Hill) – No.26 hit Irene Daye – vocal; with chorus C 3530-1 (Okeh 6046), Chicago, 17th January 1941 3:06

The drummer’s impact on audiences of the time was described by Anita O’Day: “Gene was as magnetic as a movie-star, filled with a wild exuberance as his raven-coloured hair, flashing brown eyes and black suit contrasted with the snow-white marine pearl drums around him.” But just when it seemed he could do no wrong, disaster struck. In 1943 Krupa was arrested in San Francisco on a (probably) trumped-up charge for possession of marijuana and given a three-month jail sentence. Leaderless, his band folded. Although released following an appeal, it seemed his career was ended. For a time he retired in depression to New York until Goodman rallied to the rescue and offered him a chance to tour US Army bases. Fearing public antipathy, Krupa turned down another Goodman US tour and joined forces with New York-based Tommy Dorsey instead. As the charges against him were eventually dropped (he effectively persuaded the authorities that he had kicked his drug habit), following a US tour with Dorsey, Gene formed a new big band in his own right in early 1945.

The Gene Krupa Orchestra enjoyed a second heyday with a completely new line-up of such second-generation jazz luminaries as Don Fagerquist, Teddy Napoleon, Red Rodney and Charlie Ventura (the nation’s favourite tenor saxophonist in the 1945 Downbeat poll, Ventura is featured on a particularly fine trio recording of Dark Eyes – track 5). They recorded a vintage series of Krupa greats in a style that was gradually shifting away from Swing towards the new wave of Bebop (as clearly shown in Calling Doctor Gillespie – track 12). Leave Us Leap (track 4), Lover (track 8) and How High The Moon (track 9) all demonstrate the thrilling power of the band at this time. Fresh from a remarkably fruitful period with Stan Kenton, Anita O’Day returned to Krupa for Sy Oliver’s Opus One (track 6) and even achieved a Top Ten hit with Boogie Blues (track 7) from the same session.

Krupa showed a keen eye for spotting emerging talent when he recruited onto his arranging staff in 1946 the teenage Gerry Mulligan, later to become the cool master of the baritone saxophone. His was the How High The Moon arrangement, and the band enjoyed great success with his own Disc Jockey Jump (track 10). More than a decade later Gene Krupa was to bring together another orchestra to record Gerry Mulligan arrangements and flavoursome compositions such as Mulligan Stew (track 21).

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He immediately set about forming his own band, and the Gene Krupa Orchestra – a hit from its debut on 16th April 1938 before 4,000 listeners in the Marine Ballroom on Atlantic City’s Steel Pier – rapidly took its place among the nation’s most popular swing bands. 17 tracks in this collection reflect the glorious heyday of the band over the next four years. Aided by such talented musicians as trumpeters Corky Cornelius and Shorty Sherock, tenor saxophonist Sam Donahue and clarinettist Sam Musiker, they created such staples of the Swing Era as Wire Brush Stomp (track 10), Blue Rhythm Fantasy (track 14) and the theme tune Apurksody (track 12 – “Krupa” backwards plus half of “Rhapsody”). Perhaps surprisingly, the biggest chart success was the sentimental ballad It All Comes Back To Me Now (track 17), sung by the pleasant-voiced but not especially memorable Howard DuLany, which reached No.2 in 1941. The main singer to that date was Californian Irene Daye (1918-1971), vocalist on the title track Drummin’ Man (track 1). She cut 63 sides with the Krupa band, the most successful being her last one, the thrilling Drum Boogie (track 19 – this was also the number for a superb cameo performance Krupa gave in the film Ball Of Fire), after which Irene became Mrs. Corky Cornelius and retired.

The departure of Daye could have been a serious loss, but stepping smoothly into her shoes was a performer who would take the band to even greater heights of popularity: the ever-hip, ever-cool Anita O’Day (1919-2006). Within two months of Drum Boogie, she struck gold with Just A Little Bit South Of North Caroline (track 21), which reached No.4. Even more successful was the novelty Let Me Off Uptown (track 22), on which she duetted with the other exciting new star of the Krupa Orchestra, the ‘hottest’ young trumpet ace of the time, Roy Eldridge (1911-1989). His electrifying high register playing, and rapid double-time notes, lit up the Swing Era and were a strong influence on Bebop musicians such as Dizzy Gillespie. An essential Eldridge vehicle at most Gene Krupa concerts was his virtuosic rendition of Hoagy Carmichael’s Rockin’ Chair (DISC TWO, track 2).

20 GEORGIA ON MY MIND (Hoagy Carmichael – m; Stuart Gorrell – w; 1930; arr. Elton Hill) – No.17 hit

Anita O’Day – vocal 29922-1 (Okeh 6118), New York, 12th March 1941 2:5321 JUST A LITTLE BIT SOUTH OF NORTH CAROLINA (Sunny Skylar,

Bette Cannon & Arthur Shaftel, 1940) – No.4 hit Anita O’Day – vocal 29976-1 (Okeh 6130), New York, 19th March 1941 2:40

Gene Krupa & his Orchestra: Roy Eldridge, Norman Murphy, Torg Halten, Graham Young (tp) John Grassi, Jay Kelliher, Babe Wagner (tb) Sam Musiker (cl,ts) Clint Neagley, Musky Ruffo (as) Walter Bates (ts) Bob Kitsis (p) Ray Biondi (g) Biddy Bastien (b)22 LET ME OFF UPTOWN (Redd Evans & Earl Bostic, 1941; arr. Elton Hill) – No.10 hit Anita O’Day & Roy Eldridge – vocals 30443-1 (Okeh 6210), New York, 8th May 1941 3:02

Disc One total timing 77:06

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DISC TWO

Gene Krupa & his Orchestra: Roy Eldridge, Norman Murphy, Graham Young, Al Beck – 1, Torg Halten – 2 (tp) John Grassi, Jay Kelliher, Babe Wagner (tb) Sam Musiker (cl,as,ts) Musky Ruffo, Jimmy Migliori – 1 (as) Walter Bates (ts) Sam Listengart (bar) Milt Raskin (p) Ray Biondi (g) Ed Mihelich (b)1 BOLERO AT THE SAVOY (Gene Krupa, Ray Biondi, Jimmy Mundy & Charles

Carpenter, 1938) Anita O’Day - vocal 31801-2 (Okeh 6721), New York, 25th November 1941 2:502 ROCKIN’ CHAIR (Hoagy Carmichael, 1929; arr. Benny Carter) 30830-1 (Okeh 6352), New York, 2nd July 1941 3:00

Gene Krupa & his Orchestra: Roy Eldridge, Mickey Mangano, Norman Murphy, Al Beck (tp) Greg Phillips, Tommy Pederson, Babe Wagner (tb) Sam Musiker (cl,as) Ben Feman (as) Jimmy Migliori, Don Brassfield (ts) Rex Kittig (bar) Joe Springer (p) Teddy Walters (g) Ed Mihelich (b)3 THAT DRUMMER’S BAND (Gene Krupa & Roy Eldridge, 1941; arr. Elton Hill) –

Gene Krupa theme tune 32999-1A (Columbia 36819), New York, 13th July 1942 3:01

Gene Krupa & The Band That Swings With Strings: Tony Russo, Joe Triscari, Don Fagerquist, Bill Conrad (tp) Leon Cox, Tommy Pederson, Bill Culley (tb) Murray Williams (cl,as) Fran Antonelli (as) Charlie Ventura, Andy Pino (ts) Stuart Olson (bar) Teddy Napoleon (p) Ed Yance (g) Clyde Newcombe (b) Louis Zito (d) + 8 strings4 LEAVE US LEAP (Eddie Finckel, 1945) HCO 1231-1 (Columbia 36802), Los Angeles, 22nd January 1945 3:04

Gene Krupa & his Jazz Trio: Charlie Ventura (ts) Teddy Napoleon (p)5 DARK EYES (Ochi chyornye) (Traditional Russian folk song) HCO 1292-1 (Columbia 36802), Los Angeles, 8th March 1945 3:28

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In 1929 Gene transferred with Condon to New York City where, until 1931, he played and recorded with various groups under the famous heading of “Red Nichols and his Five Pennies”. As a stepping stone to stardom for Krupa, the star-studded lineups happily also included clarinettist Benny Goodman (1909-1986), and Dinah (track 3) came from the first session of what would be a priceless, if stormy partnership.

Determined to succeed, Krupa began formal music instruction with Gus Moeller, practicing eight hours a day on inventing his own rhythmic variations and patterns. He wrote: “My work with Moeller made possible more graceful playing, better control and freedom to be myself no matter what kind of music I had to interpret.”

The enthusiastic Gene became a star sideman with Goodman’s recently-formed big band from December 1934 and by mid-’35, when the Swing Era really took flight, his driving drum style and dynamic sense of showmanship had made him a household name. As well as underpinning the orchestra with his insistent beat, he was regularly featured in the virtuosic trio of Goodman, Krupa and Teddy Wilson (Who? – track 4, and Tiger Rag – track 7). Krupa’s brush work here (and in the quartet with Lionel Hampton) displayed his musical versatility and refined sense of accompaniment. Benny also joined Gene Krupa on the first recording session under his own name. A notable date with his Chicagoans produced Blues Of Israel (track 5), which featured what was probably the first ever double-bass solo on disc, by the teenage Israel Crosby (he has much to answer for!). The following February both Crosby and Goodman were in the studio session for “Gene Krupa’s All-Star Swing Band” (significantly also featuring trumpeter Roy Eldridge) that declared unequivocally Swing Is Here (track 6).

The climax of Krupa’s years with the Benny Goodman Orchestra was undoubtedly the celebrated Carnegie Hall date of 16th January 1938, hailed as “the single most important jazz concert in history” (critic Bruce Eder), and all 12 minutes 13 seconds of Louis Prima’s frantic, utterly irresistible Sing, Sing, Sing (track 8) is here. Gene’s dazzling playing and equally dazzling film-star looks were in danger of upstaging the jealous, irascible Goodman, and friction culminated in a public fracas on stage in Philadelphia and Krupa’s departure from the band.

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GENE KRUPA – DRUMMIN’ MAN“Gene Krupa was the beginning and the ‘end’ of all jazz drummers. He’s a great genius – a truly great genius of the drums”. This was the verdict of Buddy Rich (in a 1955 interview) on the man who double-handedly brought the drums into the solo spotlight, Eugene Bertram Krupa – one of the musical giants of the Swing Era.

Born in Chicago, Illinois, on 15th January 1909, the youngest of nine children of immigrant Polish parents, Gene played drums from an early age and was strongly inclined towards music, particularly jazz. He was educated at Bowen High School then, to please his mother, began to train for the priesthood at St. Joseph’s College in Indiana in 1924. But jazz refused to take a back seat; in the summer vacation of that year he played with The Frivolians in Madison, Wisconsin, and the seminary was abandoned, replaced during 1925 by extensive percussion tuition. He gained experience with many commercial dance bands around Chicago including Joe Kayser’s, the Hossier Bellhops, Ed Mulaney’s Red Jackets, Albert Gale’s, the Blue Friars and the Benson Orchestra; then later with such as Mezz Mezzrow and Thelma Terry’s Playboys (who included Bud Freeman).

Inspired by the drumming of Dave Tough (1907-1948), in the late 20s Gene became a dedicated follower of the Austin High Gang, the group of young, white musicians from the west side of Chicago, who originated what became known as the “Chicago style” of jazz, around the hard-boiled, catalyst figure of Eddie Condon (1905-1973). Tough then introduced the young drummer to the playing of the great New Orleans drummer Baby Dodds (1898-1959), described by Krupa as “one of my main inspirations”.

It was with Condon’s Chicagoans, fronted by Red McKenzie that Gene cut his now-legendary first sides in 1927, alongside such as Frank Teschemacher and Bud Freeman. These were reputedly the first studio jazz discs ever to feature bass-drum and tom-toms (as opposed to just snare and cymbals, which was the norm at that time). The producer was doubtful the recording equipment could cope but eventually gave it a try. Assessing the impact of the session, Condon wrote, “Krupa’s drums went through us like triple bourbon.” (China Boy – track 2)

Gene Krupa & his Orchestra: Don Fagerquist, Joe Triscari, Vince Hughes, Tony Russo (tp) Leon Cox, Tommy Pederson, Bill Culley (tb) Johnny Bothwell, Adrian Tei (as) Charlie Ventura, Charlie Kennedy (ts) Stuart Olson (bar) Teddy Napoleon (p) Ed Yance (g) Irv Lang (b) Joe Dale (d)6 OPUS ONE (Sy Oliver – m; Sid Garris – w; 1944) Anita O’Day – vocal CO 35110-1, (Columbia 37224), New York, 21st August 1945 2:587 BOOGIE BLUES (Gene Krupa & Ray Biondi, 1945) – No.9 hit Anita O’Day – vocal CO 35113-1 (Columbia 36986), New York, 21st August 1945 3:20

Gene Krupa & his Orchestra: Don Fagerquist, Pinky Savitt, Vince Hughes, Tony Russo (tp) Leon Cox, Dick Taylor, Nick Gaglio (tb) Harry Terrill, Charlie Kennedy (as) Charlie Ventura, Buddy Wise (ts) Joe Koch (bar) Teddy Napoleon (p) Frank Worrell (g) Irv Lang (b) Joe Dale (d)8 LOVER (Richard Rodgers – m; Lorenz Hart – w; Love Me Tonight, 1932 film;

arr. Eddie Finckel) CO 35242-3A (Columbia 36986), New York, 24th October 1945 2:49

Gene Krupa & his Orchestra: Red Rodney, Joe Triscari, Ray Triscari, Tony Anelli (tp) Ziggy Elmer, Dick Taylor, Warren Covington, Ben Seaman (tb) Harry Terrill, Charlie Kennedy (as) Charlie Ventura, Buddy Wise (ts) Jack Schwartz (bar) Teddy Napoleon (p) Hy White (g) Bob Munoz (b) Joe Dale (d) 9 HOW HIGH THE MOON (Morgan Lewis – m; Two For The Show, 1940 show;

arr. Gerry Mulligan) CO 36364-1 (Columbia 38345), New York, 27th May 1946 3:18

Gene Krupa & his Orchestra: Don Fagerquist, Ray Triscari, Ed Badgley, Al Porcino (tp) Clay Hervey, Dick Taylor, Emil Mazanec, Jack Zimmerman (tb) Harry Terrill, Charlie Kennedy, Harry Terrill – 10, Sam Marowitz – 11 (as) Buddy Wise, Mitch Melnick (ts) Jack Schwartz (bar) Buddy Neal (p) Bob Lesher (g) Bob Strahl (b) Joe Dale (d)10 DISC JOCKEY JUMP (Gerry Mulligan & Gene Krupa, 1947) CO 37309-2D (Columbia 38590), New York, 22nd January 1947 3:09

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11 STARBURST (Eddie Finckel, 1941) – Gene Krupa theme tune CO 37355-1 (Columbia 37539), New York, 5th February 1947 2:57

Gene Krupa & his Orchestra: Don Fagerquist, Buddy Colaneri, Gordon Boswell, Ed Shedowski (tp) Urbie Green, Bob Fitzpatrick, Emil Mazanec, Jack Zimmerman (tb) Lenny Hambro, Charlie Kennedy (as) Buddy Wise, Mitch Melnick (ts) Bob Morton (bar) Teddy Napoleon (p) Bob Lesher (g) Pete Ruggerio (b)12 CALLING DOCTOR GILLESPIE (Eddie Finckel, 1946) CO 38664-1 (Columbia 38382), New York, 29th December 1947 3:2013 UP AN’ ATOM (Eddie Finckel, 1946) CO 38665-1 (Columbia 38382), New York, 29th December 1947 2:56

Gene Krupa & his Chicago Jazz: Wild Bill Davison (cnt) Cutty Cutshall (tb) Peanuts Hucko (cl) Gene Schroeder (p) Ray Biondi (g) Al Hall (b)14 BONAPARTE’S RETREAT (Pee Wee King, 1949) – No.9 hit Bobby Scoots – vocal EOVB 4136 (Victor 20-3766), New York, 6th April 1950 3:10

With Buddy Rich (d): 15 THE DRUM BATTLE (Norman Shrdlu, 1952) Verve MGV 8369, concert at Carnegie Hall, New York, 13th September 1952 3:26

The Gene Krupa Sextet: Charlie Shavers (tp) Willie Smith (as) Teddy Wilson (p) Steve Jordan (g) Israel Crosby (b)16 CORONATION HOP (Charlie Shavers, 1953) 1205-4 (Clef MGC 152), New York, 14th April 1953 2:5117 PARADISE (Nacio Herb Brown; A Woman Commands, 1932 film) 1206-5 (Clef MGC 152), New York, 14th April 1953 3:3918 OVERTIME (Brown, 1944) 1207-11 (Clef MGC 152), New York, 14th April 1953 2:41

Gene Krupa * Lionel Hampton (vib) * Teddy Wilson (p):19 AIRMAIL SPECIAL (Benny Goodman, Jimmy Mundy & Charlie Christian, 1941) 2366-1 (Clef MGC 681), Los Angeles, 31st July 1955 7:12

With Norman Granz All Stars: Dizzy Gillespie, Roy Eldridge (tp) Flip Phillips, Illinois Jacquet (ts) Oscar Peterson (p) Herb Ellis (g) Ray Brown (b)20 GENE’S BLUES (Gene Krupa, 1955) 2527-3 (Clef MGC 684), New York, 1st November 1955 7:44

The Gene Krupa Orchestra, conducted by Gerry Mulligan: Al DeRisi, Ernie Royal, Doc Severinsen, Al Stewart (tp) Eddie Bert, Jimmy Cleveland, Billy Byers, Kai Winding (tb) Sam Marowitz, Phil Woods (as) Frank Socolow, Eddie Wasserman (ts) Danny Bank (bar) Hank Jones (p) Barry Galbraith (g) Jimmy Gannon (b)21 MULLIGAN STEW (Gerry Mulligan & Gene Krupa)22522 (Verve MGV 8292), New York, 20th October 1958 3:59

The Gene Krupa Big Band, conducted by Quincy Jones: Roy Eldridge, Joe Ferrante, Bernie Glow, Ernie Royal, Nick Travis (tp) J.J. Johnson, Kai Winding, Jimmy Cleveland, Fred Ohms (tb) Aaron Sachs (cl,ts) Hal McKusick (as,cl) Sam Marowitz (as) Eddie Shu (ts) Danny Bank (bar) Dave McKenna (p) Barry Galbraith (g) John Drew (b) 22 DRUMMIN’ MAN (Gene Krupa & Truck Parham, 1939; arr. Quincy Jones) Anita O’Day – vocal 2765-2 (Verve EPV 5002), New York, 12th February 1956 3:13

Disc Two total timing 79:21

Compiled by Ray CrickFinal audio restoration by Alan Bunting

Key to abbreviations: (arr) arranger (as) alto saxophone (b) double-bass (bar) baritone saxophone (cl) clarinet (cnt) cornet (d) drums (g) guitar (m) music, i.e. composer (p) piano (tb) trombone (tp) trumpet (ts) tenor saxophone (tu) tuba (vib) vibraphone (w) words, i.e. lyricist

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GENE KRUPADRUMMIN’ MAN - His 44 finestMusicians include: Eddie Condon * Wild Bill Davidson * Roy Eldridge * Bud Freeman * Benny Goodman * Lionel Hampton * Harry James * Gerry Mulligan * Red Nichols * Buddy RichCharlie Shavers * Willie Smith * Charlie Ventura * Teddy Wilson 1927-1958

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RTS 4174

DISC ONE1 DRUMMIN’ MAN (1939, with Irene Daye)2 CHINA BOY3 DINAH4 WHO? 5 BLUES OF ISRAEL 6 SWING IS HERE 7 TIGER RAG 8 SING, SING, SING 9 I KNOW THAT YOU KNOW 10 WIRE BRUSH STOMP 11 RHYTHM JAM 12 APURKSODY 13 SYMPHONY IN RIFFS 14 BLUE RHYTHM FANTASY 15 TUXEDO JUNCTION 16 NO NAME JIVE

17 IT ALL COMES BACK TO ME NOW (with Howard DuLany)18 FULL DRESS HOP 19 DRUM BOOGIE (with Irene Daye)20 GEORGIA ON MY MIND (with Anita O’Day)21 JUST A LITTLE BIT SOUTH OF NORTH CAROLINA (with Anita O’Day)22 LET ME OFF UPTOWN (with Anita O’Day & Roy Eldridge)

DISC TWO1 BOLERO AT THE SAVOY (with Anita O’Day)2 ROCKIN’ CHAIR 3 THAT DRUMMER’S BAND 4 LEAVE US LEAP 5 DARK EYES 6 OPUS ONE (with Anita O’Day)

7 BOOGIE BLUES (with Anita O’Day)8 LOVER 9 HOW HIGH THE MOON 10 DISC JOCKEY JUMP 11 STARBURST 12 CALLING DOCTOR GILLESPIE 13 UP AN’ ATOM 14 BONAPARTE’S RETREAT (with Bobby Scoots)15 THE DRUM BATTLE 16 CORONATION HOP 17 PARADISE 18 OVERTIME 19 AIRMAIL SPECIAL 20 GENE’S BLUES 21 MULLIGAN STEW 22 DRUMMIN’ MAN (1956, with Anita O’Day)

Total playing time: 2 hours 36 minutes

Made in the UK by Nimbus RecordsReleased under exclusive licence by Wyastone Estate Limited.This release © & P 2011 Wyastone Estate Limited. www.retrospective-records.co.uk