Oral History Interviews

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Jack Jones was the son of actors Allan Jones and Irene Hervey. The experience of growing up in Hollywood allowed Jack to explore a number of fields in entertainment. At a young age, he realized he loved to sing, so with the help of his father, Jack began recording demos and in 1959 landed a contract with Capitol Records.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Ray Ellis had a remarkable career as a songwriter and arranger. His career spanned jazz and popular music, as well as cartoons and game shows.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Manny Albam was taught how to arrange jazz for a big band while working with Georgie Auld's Orchestra. Georgie's arranger at the time was Budd Johnson who took Manny under his wing. Manny developed into one of the most noted arrangers and composers of jazz music particularly during the 1950s. Leonard Bernstein and Stan Kenton personally sought out Manny for projects as did Count Basie and Thad Jones. Image courtesy of the Downbeat archives and RCA.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Nick Brignola’s baritone saxophone can be heard on several important jazz recordings beginning in the 1960s. He helped define the role of the baritone saxophone in the contemporary style of jazz of the era, including free and modern jazz. As a young player, Nick surrounded himself with the older veterans of jazz and learned techniques and phrasing from other instruments that helped shape his own unique style.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Bob Brookmeyer played trombone for several name big bands during the great swing era including Tex Beneke, Claude Thornhill, and Ray McKinley. Bob began focusing on Cool Jazz and West Coast Jazz, playing with the likes of Stan Getz and Gerry Mulligan. In the late 1960s, Bob moved to Los Angeles and began a second career as a studio musician.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Les Brown and His Band of Renown was among the most popular orchestras during the swing era. His recording of "Sentimental Journey" (with vocals by Doris Day) was often considered the homecoming theme song of World War II. The band's countless performances with Bob Hope's USO shows forever placed Les in the hearts of millions as did his string of hit recordings including his theme song "Leap Frog." Image courtesy of the Downbeat archives and MCA.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Joe Bushkin was involved with jazz at a very critical time in music history. Born in 1916, Joe was playing in dance bands while many of the originators of jazz and swing were still performing. As a pianist, Joe helped bridge the eras while adding his own unique style and feel for the music. Benny Goodman hired Joe in 1935 to perform with his orchestra and a series of name brand gigs followed including recordings and live performances with Eddie Condon, Bu

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Billy Butterfield's smooth and melodic trumpet can be heard on Margret Whiting’s recording of "Moonlight In Vermont." His performance was often singled out as a defining moment for young musicians who heard the solo and sought lessons to follow in Billy's footsteps. That influential recording was just one moment of his long and successful career in the big band and jazz world that included gigs with Artie Shaw, Les Brown, Bob Crosby, Tommy Dorsey, and Ben

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Benny Carter was among the most creative jazz composers and arrangers in a career that spanned the 1930s through the 1990s. He first recorded with Charlie Johnson's Orchestra in 1928 and worked with Duke Ellington and Teddy Wilson before forming his own band. Benny composed several songs now considered jazz standards including "When Lights Are Low" and "Key Largo" and received several awards for his contributions to jazz including being inducted into the

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Doc Cheatham was a blues and jazz trumpeter who played from the early years of recordings all the way into the 1990s. Doc was just a teenager when he recorded with the blues legend Ma Rainey (1927) and played with a who's who of musicians and singers until his last performance two days before his passing at the age of 91. Among those Doc performed with over his career were Chick Webb, Claude Hopkins, Benny Carter, Teddy Wilson, Fletcher Henderson, and Cab

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Barrett Deems was the energetic drummer of the big band era who played with Red Norvo, Muggsy Spanier, and Jimmy Dorsey. While touring as a member of Louis Armstrong's All Stars in the 1950s, Barrett wrote the fast tempo drummers dream solo hit, "Mop Mop!". In later years Barrett had a weekly gig in Chicago that often included tips and advice to the young drummers who came seeking to learn from a true master. Image courtesy of the Downbeat archives.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Larry Elgart led a dance band with his brother, Les, which recorded a number of bestselling albums beginning in the 1950s. Their "Campus Hop" album was among the first of its kind to focus on the college audience and became a top seller in 1954. A few years later, Larry and Les wrote a song "Bandstand Boogie" for Dick Clark's American Bandstand dance program, which remained the theme song for the show until it went off the air. Larry enjoyed a resurgence

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Nick Fatool was a popular drummer during the Big Band Era who kept the beat for bandleaders such as Benny Goodman, Alvino Rey, Claude Thornhill, and Les Brown. Nick played with an incredible list of performers ranging from Louis Armstrong and Ella Mae Morse to Tennessee Ernie Ford and Fred Astaire. He was performing with his longtime friend, Eddie Miller, when he was interviewed behind stage during a jazz gig near San Francisco in 1984. Image courtesy of

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Helen Forrest was often called the Sweetheart of the Big Band Era and may be the only vocalist to have recorded a million seller with Benny Goodman, Artie Shaw, and Harry James!

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Georgia Gibbs, often billed as “Her Nibbs,” enjoyed a successful career as a singer with the big bands beginning in 1936. Over the years she performed with Tommy Dorsey, Hal Kemp, and Artie Shaw. On radio, she sang on “Your Hit Parade” and the “Camel Caravan,” both of which were great training grounds for young singers and musicians. She was along the first band singers to sign a solo contract with a record company, Majestic, in 1946.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Bob Haggart may be best known for his crazy bass playing on the Bob Crosby hit record "Big Noise From Winnetka." The song featured bass slaps and even the drummer playing his sticks on Bob's bass strings. The novelty of the song and the creative use of the instruments helped establish the song as a standard in music classes around the world. Bob also wrote another classic jazz tune called "What's New?". Bob played and arranged for Ella Fitzgerald (most no

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Milt Hinton was a beloved bass player whose career covered jazz, pop, and swing music. He performed with a long list of jazz giants such as Zutty Singleton and Art Tatum before landing a 14-year gig with Cab Calloway beginning in 1936. Milt later enjoyed a very successful studio career, working with Quincy Jones, Jackie Gleason, Sam Cooke, and Barbra Streisand. His amazing photographs of those he performed with over the years have been the subject of seve

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Lena Horne was a popular singer and actress who was dedicated to the Civil Rights movement beginning in the 1950s. She began her career singing in the chorus line at the famed Cotton Club in Harlem, New York back in 1933. This experience introduced her to jazz and many of its top performers including Cab Calloway and Duke Ellington. She began singing with Charlie Barnet's band, which lead to a string of recordings. By the early 1940s she was appearing in

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Illinois Jacquet gained fame as a jazz saxophonist beginning his career with the Milton Larkin Band when Illinois was just 15. Four years later he recorded his signature solo on the song "Flying Home" while with the Lionel Hampton Orchestra. The song's popularity opened the doors for him to perform as a soloist and travel throughout Europe. During the 1950s and 60s he was a sought-after sideman and recorded with Dexter Gordon, Kenny Burrell, Ben Webster,

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Gus Johnson played drums for several big bands and jazz bands during his long career, but may be best remembered for the work he did backing up vocalists such as Ella Fitzgerald during her 1960s world tours. Gus played in Jay McShann's Orchestra for years and performed with Count Basie and Coleman Hawkins. Gus served in the United States Army during World War II and upon his return worked in the Jesse Miller Band before joining Count Basie in time to reco

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Arvell Shaw was the swift handed bass player who set the groove for such jazz greats as Teddy Wilson and Louis Armstrong. Arvell worked with Louis several times throughout the late 1940s until the 1960s, including as a member of the All-Stars from 1947-1950. One of his favorite memories was working with Louis during the filming of the 1956 movie musical "High Society." Image courtesy of the Downbeat archives and Jimmy Katz.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Barney Kessel was a well-respected and sought-after studio musician who became part of the famed “Wrecking Crew.” He was also an innovative jazz technician who inspired generations of musicians. Barney can be heard on such classic recordings as “Cry Me a River” by Julie London (1955), “How High the Moon” by Sonny Rollins (1958), and “Wouldn't It Be Nice” by The Beach Boys (1966). In 1961, Gibson introduced the Barney Kessel Guitar model, which was in prod

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Steve Kuhn grew up in Boston and began performing in area night clubs as a teenager with the likes of Coleman Hawkins and Chet Baker. While at the Lenox School of Music, Steve was taught by Gunther Schuller, Ornette Coleman, Don Cherry, and Bill Evans. What followed was an active performing and recording career that included strong musical advances and deep development of styles including fusion and free jazz.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Jack Lesberg expressed feeling blessed and how proud he was being a musician and sharing music with people all around the world during his interview. That attitude may explain why so many bandleaders and performers would request Jack to play bass for them. Over his long career, Jack played with Louis Armstrong, Sarah Vaughan, Benny Goodman, and Ralph Sutton, among others. He toured with several small jazz groups throughout the 1970s, 80s, and 90s with fri

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Red Norvo was often surprised at the influence his vibraphone playing had on a generation of musicians. During his interview in 1994 he said, "I just wanted to make music. It was an extra bonus to learn I helped others do the same!" Red's vibraphone playing helped redefine the instruments role within jazz particularly when he used four mallets. His role within big bands, including his own, gained such a reputation that he was nicknamed "Mr.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Ella Mae Morse was a vocalist for Jimmy Dorsey's Orchestra when she was just 14 years old. She went on to sing with Freddie Slack with whom she recorded a string of hits including "Cow Cow Boogie." In 1946, she and Freddie recorded their signature hit record, "House of Blue Lights." While signed with Capitol Records, Ella Mae also waxed such hits as "Blacksmith Blues," and "Oakie Boogie," For her many pop hits of the 1940s and 50s, she was awarded a star

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: George T. Simon was a journalist and historian who documented the history of the swing era! In a series of best-selling books, George recounted the glory days of the Big Band Era in America during the 1930s and 40s. Having written for several magazines during the time, George knew many of the musicians and singers involved with the era and took great pride in documenting their contributions to music. A fun little-known fact is that George actually played

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Buddy Tate was a leading saxophonist during the Big Band Era. Buddy played with such celebrated jazz bands as Andy Kirk, Count Basie, and Lionel Hampton. Beginning in 1947, Buddy led his own band, which recorded on and off until 1990 with such jazz giants as Clark Terry and Buck Clayton. Image courtesy of the Downbeat archives.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Martha Tilton was a famous singer during the Big Band Era best known for her vocals on the Benny Goodman hit record "And The Angels Sing." Known as The Liltin' Martha Tilton, she dropped out of high school to join a traveling big band. She met Benny Goodman on a radio show in 1938 and a year later recorded their big hit, "And The Angels Sing," which also featured the trumpeter Ziggy Elman.

This audio only interview was conducted for a radio program by Dan Del Fiorentino and donated to the NAMM Oral History program: Stanley Dance was the noted jazz historian who wrote several Grammy nominated liner notes as well as books and magazine articles over his long career. He began writing for a small music magazine called Jazz Hot back in 1935 and submitted his last book review for Jazz Time Magazine a few days before his passing in 1999. He was a lifelong friend of Duke Ellington and married to the author Helen Oakley Dance. During this segment Stanley covers his views on t