John C. Smith
2004-10-26 20:33:34 UTC
Big band fans....here is a story for you. I hope it's not too long, but
feel like I should share it with anyone interested.
My name is John C. Smith, and I came to the Dallas area in the mid 70s to
study for a PhD...another story. I met a man who knew Les Elgart, who was
living in Dallas, and asked if I wanted to meet him, and help him out. He
was in bad shape, personally, financially and musically. Well being a
bass bone player, I said you bet. We all know that the Les Elgart band
was a far cry from jazz, but for several years in the 50s and 60s was
considered one of the best dance bands ever.
Arguably, my take was that his book could be played by most junior high
stage bands with a good lead alto (Larry Elgart's part) and good guitar (Les
and Larry used guitar, no piano) and a good bass bone player, (George
Roberts on most recordings.) He was one of the few bands that actually
considered the bass bone a solo instrument, even if it was and occasional
solo pfart. But I was star struck and wanted to meet him and help.
I was taken to his apartment (this is late 1970s) and it was a usual green
shag carpet 2 bedroom apartment. When I entered I was met with a smell
that almost turned me around. Don't know which was worse, the tobacco,
booze or the shag carpet that had been entertained by their poodle...pretty
much soaked every inch. It always hurts to see a legend or hero in the
downside of his life, never knowing him in the prime. After all he did
play with Woody for a while, so he must have had something going for him.
He and Larry did not speak any longer, and his book was a mess.
Les would get a gig once or twice a month, and fly to Chicago or LA or
somewhere, have a band assembled, and Les would front. I don't think even
play. He played 4th in the band, and most of the parts were missing. He
drank so much I'm not sure he could play any more, or the booking agent
wanted him to. But the book was sightread by every band that got it, under
the Les Elgart Orchestra name, so it had to be readable.
Almost every chart had part(s) missing, torn, worn, or something wrong. It
had just been abused over many years and the originals were either in the
book, or the trunks of masters were so unorganized, nobody could find
anything. I agreed to recopy (I am a calligrapher) the charts, write
missing parts where I could, and basically restore the book for Les, for a
copy of the chart for me and my friend who was starting a band at that time,
and is currently well known. I did them on vellums so they could have
several copies made, and I had access to a oslid machine at a publishing
company that I worked for part time. Les wanted all the originals, masters
and everything back. He knew he was not long for the world and thought
that the library was the only legacy for his wife.
I could take 4-5 charts at a time. I would have to get down on that carpet
to sort out the book, take what he wanted me to do first (he had
preferences) and pull those charts. When I got up off the floor, the knees
of my pants were soaked with dog urine. I can't tell you how discusting it
was. But I would take those and fix them, return and take 4-5 more. Les
would sit at the bar with his fingers and go through my newly written 4th
trumpet parts. I was pretty proud as I could pretty much nail it.
Missing part in a six chord or severth chord was not hard. Once in a while
he's say, no that is an A not a G and I'd correct it, but most of the time
did a competent job, which made me feel like the 2nd bone or tenor part I
had to do was also pretty close to the original. I did this for a dozen
trips before Les said that was enough. We parted. But I got some pretty
good charts recopied for him, and in some cases, just had to clean up his
chart and recopy it on a machine to get a new clean copy.
I also asked Les if I could write a chart for his band. He agreed. I
did an arrangement of "the More I See You." I tried to nail the Elgart
bounce, style and wrote it as a bass bone solo. Well he never paid for it,
and I really had no way of ever knowing if he even ever used it, or liked
it. I kept it and play it with my band and like it, but then...... He
also was trying to "hip up" the band and asked for an arrangment that I did
on "Gonna Fly Now" (Rocky's Theme) and he never paid me for that either.
I got out of music a few years after that. My friend called me and said
"Les wants all of his charts back." That wasn't the deal, but Les was in
very bad shape, and his wife wanted everything under her control. My
friend raised hell, but I was out of the business so I really didn't care
too much or so I thought, so I just boxed them up and took them to my friend
and he gave them back to Les. I thought the story was over.
A few years ago, I got back into the business I loved and missed and started
a band, and heard that the Elgart band was ghosting around the area and a
lawyer had it. He was telling everyone how "HE" hired someone to restore
the book. Never found out who or made any connection, but a year or so
ago, met drummer Russ Dorsey. Russ was Les' drummer for the last few
years, and he now has the book, fronts and rights from Les' wife. Some how
he found out about me and contacted me. We had lunch and talked but both
busy, never pursued this much other than swapping stories.
Well now Russ wants to restore everything again. The book is in bad shape,
and wants it back. I guess I'm easy but like doing library work and
restoring things. Now I am looking at most of the Elgart library in my
living room. I guess most of you wouldn't be impressed, but in a very
different, yet similar way, looking at Beethovan's manuscripts. Now I know
that is a real stretch. Frankly I'd rather be playing with Woody's
Library, or Basie's or Kenton's, but it's better in my view that to have
Miller's or Lombardo's or Welk's. This all may be very subtle, but I felt
like telling the world about it, and see how many other stories come from
this posting.
I can't find the orignal masters I had. Don't have a clue as to where they
went. And again, many charts are missing parts. Problem is there are
several books.....MANY books. There are 10 copies of Tenor 1 and no copies
of Tenor 2, for example. Sometimes there are 2-3 copies of a chart in the
same book. Then other parts are missing. Well the first job is to sort
it all out, then go back and figure out which are worth saving. Then which
can be saved the easiest way with a copy machine and a lot of white out.
Then just start out recopying. We are not doing this to sell copies,
although I don't know who else would want them. But to just restore.
Neither Russ nor I have any illusions of the Elgart ghost band going on the
road like the Dorsey or Miller bands, but he does get a few gigs. We have
actually restored a good portion of it and have about 50 charts that can be
played right now. In fact there is an Elgart gig tonight at one of the Ft
Worth junior colleges. I don't know which one. Probably will get 15-20
more usable charts out of the libary and then just file the rest as junk.
Too many parts missing, don't know if the chart is good to start with and
worth working on. Most of the Charlie Albertine stuff is there and that
was the heart of the Elgart sound. Some Walt Stuart stuff and Pete Korey
stuff. Pete did the Bandstand Boogie. (I always thought it was ironic
that Elgart's biggest claim to fame was the theme to a rock and roll show.)
Well if you are still reading, you need to get a life. I just wanted to
share the story. I know at least Hans will be interested. No illusions
about this being anything other than a dance band book, but it was a good
one, at least for bass bone players. My band usually grumbles when I pull
up an Elgart chart, unless of course I just played 2-3 Woody charts on a 4
hour dance and they need a "rest chart." I'm not putting it down, but it
is what it is. All the charts are under 3 minutes for dancing and radio
station play time. Some are barely over a minute....one time through the
head of "I Don't Know Why" for example. Almost all the solos (if there are
any) are in Charlie Albertine's Tenor 1 part. Very few exceptions.
But with a strong bass bone, great rhythm guitar player and a lead alto with
legit background, no vibrato, you can capture the Elgart cliche pretty well.
Dance away.
And by the by, this time around, I found my arrangment of "The More I See
You," numbered and in the book so I know he played it. Don't know if he
liked it. Never found "Gonna Fly Now." So I guess I can say I wrote for
Les Elgart. Wow. Big WOW.
John C. Smith
Lewisville, TX
feel like I should share it with anyone interested.
My name is John C. Smith, and I came to the Dallas area in the mid 70s to
study for a PhD...another story. I met a man who knew Les Elgart, who was
living in Dallas, and asked if I wanted to meet him, and help him out. He
was in bad shape, personally, financially and musically. Well being a
bass bone player, I said you bet. We all know that the Les Elgart band
was a far cry from jazz, but for several years in the 50s and 60s was
considered one of the best dance bands ever.
Arguably, my take was that his book could be played by most junior high
stage bands with a good lead alto (Larry Elgart's part) and good guitar (Les
and Larry used guitar, no piano) and a good bass bone player, (George
Roberts on most recordings.) He was one of the few bands that actually
considered the bass bone a solo instrument, even if it was and occasional
solo pfart. But I was star struck and wanted to meet him and help.
I was taken to his apartment (this is late 1970s) and it was a usual green
shag carpet 2 bedroom apartment. When I entered I was met with a smell
that almost turned me around. Don't know which was worse, the tobacco,
booze or the shag carpet that had been entertained by their poodle...pretty
much soaked every inch. It always hurts to see a legend or hero in the
downside of his life, never knowing him in the prime. After all he did
play with Woody for a while, so he must have had something going for him.
He and Larry did not speak any longer, and his book was a mess.
Les would get a gig once or twice a month, and fly to Chicago or LA or
somewhere, have a band assembled, and Les would front. I don't think even
play. He played 4th in the band, and most of the parts were missing. He
drank so much I'm not sure he could play any more, or the booking agent
wanted him to. But the book was sightread by every band that got it, under
the Les Elgart Orchestra name, so it had to be readable.
Almost every chart had part(s) missing, torn, worn, or something wrong. It
had just been abused over many years and the originals were either in the
book, or the trunks of masters were so unorganized, nobody could find
anything. I agreed to recopy (I am a calligrapher) the charts, write
missing parts where I could, and basically restore the book for Les, for a
copy of the chart for me and my friend who was starting a band at that time,
and is currently well known. I did them on vellums so they could have
several copies made, and I had access to a oslid machine at a publishing
company that I worked for part time. Les wanted all the originals, masters
and everything back. He knew he was not long for the world and thought
that the library was the only legacy for his wife.
I could take 4-5 charts at a time. I would have to get down on that carpet
to sort out the book, take what he wanted me to do first (he had
preferences) and pull those charts. When I got up off the floor, the knees
of my pants were soaked with dog urine. I can't tell you how discusting it
was. But I would take those and fix them, return and take 4-5 more. Les
would sit at the bar with his fingers and go through my newly written 4th
trumpet parts. I was pretty proud as I could pretty much nail it.
Missing part in a six chord or severth chord was not hard. Once in a while
he's say, no that is an A not a G and I'd correct it, but most of the time
did a competent job, which made me feel like the 2nd bone or tenor part I
had to do was also pretty close to the original. I did this for a dozen
trips before Les said that was enough. We parted. But I got some pretty
good charts recopied for him, and in some cases, just had to clean up his
chart and recopy it on a machine to get a new clean copy.
I also asked Les if I could write a chart for his band. He agreed. I
did an arrangement of "the More I See You." I tried to nail the Elgart
bounce, style and wrote it as a bass bone solo. Well he never paid for it,
and I really had no way of ever knowing if he even ever used it, or liked
it. I kept it and play it with my band and like it, but then...... He
also was trying to "hip up" the band and asked for an arrangment that I did
on "Gonna Fly Now" (Rocky's Theme) and he never paid me for that either.
I got out of music a few years after that. My friend called me and said
"Les wants all of his charts back." That wasn't the deal, but Les was in
very bad shape, and his wife wanted everything under her control. My
friend raised hell, but I was out of the business so I really didn't care
too much or so I thought, so I just boxed them up and took them to my friend
and he gave them back to Les. I thought the story was over.
A few years ago, I got back into the business I loved and missed and started
a band, and heard that the Elgart band was ghosting around the area and a
lawyer had it. He was telling everyone how "HE" hired someone to restore
the book. Never found out who or made any connection, but a year or so
ago, met drummer Russ Dorsey. Russ was Les' drummer for the last few
years, and he now has the book, fronts and rights from Les' wife. Some how
he found out about me and contacted me. We had lunch and talked but both
busy, never pursued this much other than swapping stories.
Well now Russ wants to restore everything again. The book is in bad shape,
and wants it back. I guess I'm easy but like doing library work and
restoring things. Now I am looking at most of the Elgart library in my
living room. I guess most of you wouldn't be impressed, but in a very
different, yet similar way, looking at Beethovan's manuscripts. Now I know
that is a real stretch. Frankly I'd rather be playing with Woody's
Library, or Basie's or Kenton's, but it's better in my view that to have
Miller's or Lombardo's or Welk's. This all may be very subtle, but I felt
like telling the world about it, and see how many other stories come from
this posting.
I can't find the orignal masters I had. Don't have a clue as to where they
went. And again, many charts are missing parts. Problem is there are
several books.....MANY books. There are 10 copies of Tenor 1 and no copies
of Tenor 2, for example. Sometimes there are 2-3 copies of a chart in the
same book. Then other parts are missing. Well the first job is to sort
it all out, then go back and figure out which are worth saving. Then which
can be saved the easiest way with a copy machine and a lot of white out.
Then just start out recopying. We are not doing this to sell copies,
although I don't know who else would want them. But to just restore.
Neither Russ nor I have any illusions of the Elgart ghost band going on the
road like the Dorsey or Miller bands, but he does get a few gigs. We have
actually restored a good portion of it and have about 50 charts that can be
played right now. In fact there is an Elgart gig tonight at one of the Ft
Worth junior colleges. I don't know which one. Probably will get 15-20
more usable charts out of the libary and then just file the rest as junk.
Too many parts missing, don't know if the chart is good to start with and
worth working on. Most of the Charlie Albertine stuff is there and that
was the heart of the Elgart sound. Some Walt Stuart stuff and Pete Korey
stuff. Pete did the Bandstand Boogie. (I always thought it was ironic
that Elgart's biggest claim to fame was the theme to a rock and roll show.)
Well if you are still reading, you need to get a life. I just wanted to
share the story. I know at least Hans will be interested. No illusions
about this being anything other than a dance band book, but it was a good
one, at least for bass bone players. My band usually grumbles when I pull
up an Elgart chart, unless of course I just played 2-3 Woody charts on a 4
hour dance and they need a "rest chart." I'm not putting it down, but it
is what it is. All the charts are under 3 minutes for dancing and radio
station play time. Some are barely over a minute....one time through the
head of "I Don't Know Why" for example. Almost all the solos (if there are
any) are in Charlie Albertine's Tenor 1 part. Very few exceptions.
But with a strong bass bone, great rhythm guitar player and a lead alto with
legit background, no vibrato, you can capture the Elgart cliche pretty well.
Dance away.
And by the by, this time around, I found my arrangment of "The More I See
You," numbered and in the book so I know he played it. Don't know if he
liked it. Never found "Gonna Fly Now." So I guess I can say I wrote for
Les Elgart. Wow. Big WOW.
John C. Smith
Lewisville, TX