I was listening to Guy Lombardo’s recording of your father’s song Enjoy Yourself. Fabulous tune.

I’m a jazz guitarist (I stink, but I try) & would love to play his tune. Can you tell me where I might purchase a chart?

I’d appreciate any help you might give me.

Cheers,
Bob

Great post and thank you for completing the circle with your kind words about my book.

It may interest you to know I have an associated blog which presents fresh info, images and interviews about the work of BB and his milieu.

I’m currently preparing the new edition and aiming to launch it in LA in the summer so would be delighted to invite you along.

best

PG

In 1941 I listened to FM on my Stromberg Carlson radio. One station played nothing but transcription disks by the Associated Music Company, the company under the direction of the great Ben Selvin, that spun off Muzak (for better or worse) One of the recorded bands was that of Clyde Lucas, I believe the only Chicano among the Big Band leaders. He preceeded Johnny Richards, Esquivel, Ernie Caceres and Chico Alvarez.

One of the numbers they played was a lovely tune titled “Melody” I loved it and kept in my mind. In 1951 I was surprised to hear “Melody” set to a nice set of lyrics and called “It’s All in the Game” and sung nicely by what I considered a Nat Cole wannabe, Toomy Edwards. But I bought the record and enjoyed it. Around nine years later, “All In the Game” with Edwards came out again but with a rock arrangement. That, I did not buy and did not enjoy.

A few words about “Where Do I Begin” Rejecting the first set of lyrics Carl wrote for the melody from “Love Story” as “too suggestive” the movie company showed it’s hypocricy. What about the highly-acclaimed “One Night of Love” the title of a great song and movie? In today’s NYTimes, there is a letter from a woman explaining why the book/film/song was so popular. The objections came from people who did not like a married couple showing deep love for each other.

Joe Adams (happily married for 61 years)
Hillsdale, NJ

I am listening to the Pizzarelli/molesky radio show on January 10, 2009 on which you are being interviewed.
Then a fast google on Wikepedia to learn more about your Dad and the website on which I am replying.

I always think it important that classic American Popular Song will survive with the assistance of people such as yourself because you have such a clear and knowledgeable grasp of and commitment to the diverse catalogue of your father.

I particularly liked your account of your father’s own description of himself as a ” craftsman”, one who gets an assignment and writes to fit a predetermined situation. Alec Wilder’s landmark analysis in
” American Popular Song: The Great Innovators” Oxford University [Press -1973) has a major section deveoted to the : The Great Craftsmen, talented songwriters who might not have had the breadth of output as Kern, Berlin, Porter,Rogers, Gershwin,Arlen,Youmans, Schwartz, Lane,High Martin and Vernon Duke. He names 12:

Hoagy Carmichael,Walter Donaldson,Harry Warren,Isham Jones,Jimmy McHugh, Duke Ellington,Fred Ahlert, Richard Whiting,Ray Noble,Johnny Green. Rube Bloom and Jimmy Van Heusen.
Wilder felt that these composers best work could be equated with theatre songs which he felt were ” undoubtedly the finest examples of popular song writing.”

I should add that Wilder’s focus was on the composer rather than the lyricist but his description of what constitutes a great craftsman certainly applies to your fathers output.

It was a pleasure to listen to you and learn more about your father whose songs are well known to me since, at age 71,I know all those you mentioned as well as those described on the Wikepedia coverage.

Keep up the good work

Max Weissengruber