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Orchestra - Andy Bagni

Dick Bagni on his father's tenure with the band . . .

As I recall, the band started from the nucleus of the Jack Marshard Orchestra in Boston, in 1939, when I was 6 years old. Dad started as the lead Alto saxophonist with Vaughn then. The band went on, (with a few sidemen changes, except for Ziggy and my father until the end of 1955), when Vaughn decided that he wanted to "tone down" his life, so he broke up the big band and went to a much smaller combination until his early death. I was 28 years old when Vaughn passed away.

 

On his current musical career . . .

The band I work with is the Dick Meldonian NJ Swing Band, and I play Baritone and some Alto with the group. We've been together for 10 years and still attend a weekly (Wednesday) luncheon where a lot of stories are shared and we laugh until our stomachs hurt . . .

 

On the photograph below . . .

Dad and Vaughn asked me to "sit in" for a couple of numbers. I was on leave from the Navy. Dad's on my right. (Can't identify the tenor man on his right). Not shown on my left would be Ziggy Talent. Behind me (slightly left) is Joe Connie (lead trombone), to his left is Bill Mustard, to his right is Sam Hyster.  Vaughn is standing in the upper left playing Trombone.

Richard Bagni
June 2003

Vaughn Monroe Orchestra at Steel Pier in

Atlantic City, 1952

photo courtesy of Dick Bagni

 

Orchestra - Joseph Bennett

Allegro Archives
Volume CI  No. 1 
January,  2001

Allegro Interviews Joe Bennett
by Leo Ball

Joe Bennett played the trombone in many of the great postwar big bands. As a member of CBS studio orchestras, he was heard on the Garry Moore, Ed Sullivan and Jackie Gleason shows. He had a stint on Broadway and a career in New York City's busy recording studios. And he is now active in the club date field, working with the Lester Lanin orchestra for the last decade. Joe recently stopped by the 802 office to discuss the highlights of his career, and reminisce about some of the notable musicians he has played with.

He was born Joe Benante, to an immensely talented baritone horn player who immigrated from Sicily and became a member of the John Phillips Sousa band. After many years at that position his father sustained dental problems he could not overcome and retired from the music business to become a building contractor. During these years he had turned his son into a formidable horn player. But, on entering high school, Joe realized that the baritone horn was never used in the musical settings he wished to embrace and switched to the trombone.

Within a very short time he was gaining experience doing small band dates in the Paterson, N.J., area. Too young for World War II and too old to be drafted to serve in Korea, he found playing opportunities he might not have had if the musicians serving in the military were still around. His reputation increased and, right out of high school, he was invited to play a chair in the newly-formed Vaughn Monroe Band.

The band soon disbanded but by then Joe had realized how little he really knew about playing the trombone, and he returned home to commence serious study with Jack Elliot, a member of the NBC Symphony under Toscanini, and Roger Smith of the Metropolitan Opera orchestra. As he continued his studies, he worked gigs in various venues around town and discovered the musical wonders that were taking place in the Big Apple in the late 1940s and early '50s.

His mentors at that time were Brad Gowans (a valve trombonist who worked at Nick's in the Village) and, primarily, Jack Teagarden, perhaps the greatest jazz Dixieland trombonist who ever lived, whose band was working at the Hickory House. As Joe studied Jack's technique, he marveled at the fact that Teagarden only seemed to use about four positions for everything he played. This was probable the precursor to techniques employed by the newly emerging bebop trombonists, and when Jack and Joe took a trip to 52nd Street to hear J.J. Johnson, they both knew that trombone playing was changed forever.

Joe was now ready to take his place in the trombone sections of the great new postwar bands. He joined Bobby Sherwood and then played with Les Brown, who was doing a series of exhausting one nighters. So he jumped at the chance to rejoin the really hot new Vaughn Monroe band, when he got a call from promoter Jack Marchard, half owner of the band. They were doing a weekly radio show called The Camel Caravan, recording about twice monthly, and the bucks were rolling in. Joe spent the remainder of the 1940s with the band.

He became quite ill at the end of the decade, requiring surgery, and spent a long time recuperating and doing light gigs around home. But soon he was his old self, and raring to go. His first gig of the '50s was as a member of the Lucky Millinder band, the only fully integrated black band in the country. The drummer was the famous Art Blakey, who Joe says taught him the real meaning of "time." He valued the experience but found the trips through the South too stressful, and left to join the newly formed Jerry Wald bebop band. This was a wonderful musical experience, but drugs were around and not to Joe's taste, so he jumped ship again - this time, to the opposite end of the spectrum, the Art Mooney ensemble. They had just recorded "Four Leaf Clover" and the band was much in demand but, as Joe puts it, "playing music half Philadelphia Mummers style and half Glenn Miller style was too much to take."

So he moved to the Charlie Spivak orchestra, in which a young Joe can be seen playing lead trombone in the accompanying photo. Joe thinks Charlie had the greatest trumpet sound in the music business, the band was great, and Spivak was the nicest gentleman Joe had ever worked for. He felt that he had finally found a home, and stayed until 1953. He recalls that one night Dizzy Gillespie came to hear the band and, after listening to Spivak, remarked to Joe: "If I had a sound like that, I'd only play half the notes I do."

At about this time the big band era was drawing to a close. Joe got married and decided to settle down, stay in town, and establish himself as a New York player. Sol Kusikoff invited him to participate in a Broadway show, and he accepted. He found the following three years in the pit the most boring in his life - but he used the job as a base while he expanded his contacts in the recording field, and soon found himself as busy on the outside as he was in the pit.

One of his contractors, Max Zeppos, called Joe to do an album with Helen Merrill, arranged by up-and-coming arranger Gil Evans. Gil took a liking to Joe and gave him all his work, including the three Miles Davis collaborations: Miles Ahead, Porgy and Bess and Sketches of Spain. Gil used no piano and utilized the trombones for comping chords, which kept the bones busy from border to border. Joe looks on these albums as the apex of his recording years and, after watching Miles Davis in action, developed a respect for him that has lasted all his life.

The phone rang again about this time and it was the staff contractor for CBS, Lou Shoobe, offering Joe The Arthur Godfrey Show. Joe had heard that it was an extremely unhappy, uptight situation and refused. But Lou called again a while later to offer Joe a job on staff, beginning with The Garry Moore Show.

This time Joe accepted. At the first rehearsal, after a couple of tunes, the trumpet player sitting behind him tapped him on the shoulder, handed him a postage stamp-sized piece of paper, and asked him to list all the name bands he'd been on. Without missing a beat Joe replied, "I know you: you were the fourth trumpet player on every name band I ever saw." The trumpet player was the famous Bernie Privin, and he beamed as he realized that he had finally met an adversary worthy of his biting wit. They began a relationship that Joe describes as based on "insults made in love." Their exchanges entertained all around them, and some became legendary.

Shortly before Bernie died of a disease that had robbed him of his ability to speak clearly, Joe received a garbled message on his answering machine. He knew it was Bernie but couldn't understand the message, so he called Bernie's pal, Vin Riccittelli, to find out if he knew anything about it. "Yeah," said Vin, "he was trying to insult you."

Joe stayed on staff at CBS until 1972, when the networks bought the musicians out with an offer of $1,000 a year for every year on staff, and then shut them down. In addition to The Garry Moore Show, Joe had been playing the Ed Sullivan and Jackie Gleason shows every week. Staff salaries weren't the greatest (about $300 a week) but overtime paid $40 an hour and, with all he was doing, many of his paychecks were bouncing up towards four figures, marvelous money in those days.

In the '70s all the good work seemed to be moving to the West Coast, taking the wonderful writers and arrangers out there with it, and the Apple was witnessing the end of its role as the epicenter for all live television shows and recorded music. Joe recalls complaining to famous trumpeter Ray Crisara about how all his childhood buddies were now well-situated doctors, lawyers and businessmen, while he was still pecking away on the horn. Ray's answer influenced Joe's thinking for the rest of his life: "Yeah, Joe, but they've never been part of a chord."

Joe stayed busy working the large theatres that featured major acts - such as the Westchester Premier, Westbury, Colony Hill, etc. But he saw the handwriting on the wall and decided to pursue his freelance career, augmented with club dates, for which he had a natural affinity. He jobbed around, doing very well. Around 1990 he joined the Lester Lanin organization as first trombone, and has stayed with him to this day. When I asked Joe whether he ever thought about making a lamp out of his trombone, his reply was typical of many of us older musicians - "Only when it stops being fun, Leo."

Orchestra - Anthony Conduso

George Conduso remembers his father . . .

I'd just like to let Vaughn Monroe fans know that my dad, Anthony (Tony) Conduso, passed away on Nov.30, 2002. He was 90 years old.

Tony played alto sax with the Vaughn Monroe Orchestra in 1944-1945.  After leaving the band he was business agent for Local 16 of the musicians union in Newark, NJ in the 1950's. He was Vice President of the union for many years through the 1960's and 70's.

Over the years my father has told us so many stories about his experiences with the orchestra. He was particularly fond of the train travel during tours and playing the big theatres in New York. He very much admired Vaughn and always said that he was a true professional. He told  that in the 1950's, Vaughn invited him and my mother to his posh NYC apartment for a cocktail party.

George Conduso
January 2003

 

Orchestra - Louis "Babe" Feldman

   

Orchestra - Nappy Gagnon

Robert Gagnon remembers his grandfather . . . .

Nappy Gagnon was Vaughn Monroe's pianist in the Dempsey Vanderbilt-Siler's Ten Acres days through 1940 according to my Dad (Nappy's son). Also, his agent was Harry Marshard, brother of Jack Marshard, the man who gave Vaughn a baton in his early career as well as hiring my grandfather for many a wedding, society gathering etc etc. My grandmother also sang and performed with Vaughn Monroe (among others), her stage name was Helen Reynolds.

Robert Gagnon

January 7, 2012

Nappy Gagnon (piano), Jimmy Athens (bass), Eddie Julian (drums), unidentified (sax)  [Webmasters note: This is not Vaughn Monroe. To our knowledge Vaughn Monroe did not play the saxophone--he played trumpet and occasionally, trombone.], Ed Shedosky (trumpet), John 'Bucky' Pizzarelli (guitar), Louis 'Babe' Feldman (sax)

 

Orchestra - Earle Hummel

Jeff Hummel shares newspaper articles on his father, Earle Hummel, and the VM Orchestra. . .

I am the son of Earle Hummel, who played violin in Vaughn Monroe's orchestra. I believe my sister, Terry Emerich, may have contacted you some years back. I've attached three scans of news clips about my father's performances with the orchestra. The quality is not the best, since they come from Xeroxes, and we don't always know the exact newspapers or dates. The handwriting on the Xeroxes is from my mother, Susan Rogers Hummel. I hope you find them of some interest. By the way, one story my mother used to share that you may have heard: Vaughn Monroe was offered the opportunity to record "Rudolph the Red-Nosed Reindeer," but turned the song down as too frivolous. It was subsequently recorded by Bing Crosby. [Gene Autry]

Best regard,

Jeff Hummel

January 25, 2011

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Orchestra - Eddie Julian

photo from collection of Jay Montague

 

 

Orchestra - John "Bucky" Pizzarelli

 

 

SEE BULLETIN BOARD FOR INFORMATION ON BUCKY

 

Bucky Pizzarelli Wikipedia

 

 

 

 

Orchestra - Ed Shedosky

Ed Shedosky next to orchestra tour bus

Photo courtesy of Tom Shedosky

Ed's daughter remembers the band . . .

My father played with Vaughn, but I personally only met him once that I can clearly remember. That was at the McCormick Place in Chicago sometime in the early sixties. I was quite young at the time. My father passed away 12 years ago, but my mother still has pretty good memories....What I remember my dad saying of those days was that Vaughn was one of the nicest bandleaders with whom he worked. They also had flying in common, as my dad was a pilot, too.

 

Suzanne Shedosky-Apgar
November 2002

 

Bill Shedosky on his father's tenure with the band . . .

My father, Ed (Smitty) Shedosky played trumpet with the orchestra before and after WWII. (He was drafted into the Army Air Corps and spent most of the war in Colorado Springs, Colorado.) He rejoined the band after the war and remained into the 1950's. I was 5 years old before I realized "Uncle Vaughn" was not really my uncle! (I was born in 1949.)

 

Best wishes,

Bill

October 21, 2003

Bill passed away only a few weeks later after suffering a brain hemorrhage while performing in Minnesota.

 

Newspaper Articles from September 1949 submitted by Ed's daughter, Suzanne. . .

The articles also mention Bucky Pizzarelli, Frank Ryerson, Richard La Sala and James Messina.

April 2009

 

 

 

Orchestra - Benny West

Benny West, 1941

Photo courtesy of Benny West

Benny West, 1963

Photo courtesy of Benny West

 

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