1942 GENE KRUPA Orch LET ME OFF UPTOWN/ FLAMINGO 78

$

41

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A series of great  JAZZ Records from early Ragtime to Beb-Bop on 78 rpm Victrola Records

IN an unusually generous gesture, the Benny Goodman band here for the first time as the 1936 GENE KRUPA SWING BAND with B Goodman Clarinet at the end of the credits.

Gene Krupa - the star drummer of the Goodman band was a big star, so much so that a few years later, Goodman could not tolerate the rivalry any more and they parted ways

 LET ME OFF UPTOWN/ FLAMINGO

Pre war Gold label record 10" 78 rpm record

Condition:

VERY GOOD PLUS, only mildest wear, but rubbed, light scratches esp on Flamingo

However plays very quiet with rare occ click, basically excellent.

Gene Krupa

Gene Krupa (January 15, 1909 – October 16, 1973) was an influential American jazz and big band drummer and composer, known for his highly energetic and flamboyant style.[1]

 
[edit] BiographyEugene Bertram Krupa was born in Chicago, Illinois, the youngest of nine children in the family of Bartlomiej Krupa and Anna (née Oslowski) Krupa. His father was an immigrant from Poland, and his mother was born in Shamokin, Northumberland County, Pennsylvania; his siblings were Clarence, Eleanor, Casimir, Leo, Peter and Julius.

Krupa studied with Sanford A. Moeller and began playing professionally in the mid 1920s with bands in Wisconsin. He broke into the Chicago scene in 1927, when he was picked by MCA to become a member of "Thelma Terry and Her Playboys," the first notable American Jazz band (outside of all-girl bands) to be led by a female musician. The Playboys were the house band at The Golden Pumpkin nightclub in Chicago and also toured extensively throughout the eastern and central United States.

Krupa made his first recordings in 1927, with a band under the leadership of banjoist Eddie Condon and Red McKenzie: along with other recordings beginning in 1924 by musicians known in the "Chicago" scene such as Bix Beiderbecke, these sides are examples of "Chicago Style" jazz. The numbers recorded at that session were: "China Boy", "Sugar", "Nobody's Sweetheart" and "Liza". The McKenzie - Condon sides are also notable for being some of the early examples of the use of a full drum kit on recordings. Eddie Condon describes what happened in the Okeh Records studio on that day (in 'We Called It Music' - pub: Peter Davis, 1948):

Krupa's big influences during this time were Tubby Hall and Zutty Singleton. The drummer who probably had the greatest influence on Gene in this period was the great Baby Dodds. Dodds' use of press rolls was highly reflected in Gene's playing (drummerman.net)

“ Mezzrow (Milton "Mezz" Mezzrow) was helping Krupa set up his drums. 'What are you going to do with those?' Rockwell (Okeh's 'A&R' man in the 1920s) asked. 'Play them,' Krupa said simply. Rockwell shook his head. 'You can't do that,' he said. 'You'll ruin our equipment. All we've ever used on records are snare drums and cymbals.' Krupa, who had been practicing every day at home, looked crushed. 'How about letting us try them?' I asked. 'The drums are the backbone of the band. They hold us up.' I could see that Rockwell was leery of the whole business; drums or no drums, I figured, we are probably going to get tossed out. 'Let the kids try it,' McKenzie said. 'If they go wrong I'll take the rap.' I didn't know until long afterwards that Red had guaranteed our pay for the job'... ”

Quietly we waited for the playback. When it came, pounding out through the big speaker, we listened stiffly for a moment. We had never been an audience for ourselves...Rockwell came out of the control-room smiling. 'We'll have to get some more of this... (Rockwell nodded towards Krupa): didn't bother the equipment at all,' he said. 'I think we've got something,'.[citation needed]

Krupa also appeared on six recordings made by the Thelma Terry band in 1928[2] In 1929, he was part of the Mound City Blue Blowers sessions, that also included Red McKenzie, Glenn Miller, and Coleman Hawkins, which produced "Hello Lola" and "One Hour", which Krupa was credited with co-writing.

In 1929 he moved to New York City and worked with the band of Red Nichols. In 1933, Krupa first played with Benny Goodman. He became part of the Benny Goodman trio, the first popular integrated musical group in the United States. In 1934 he joined Benny Goodman's band, where his featured drum work made him a national celebrity. His tom-tom interludes on their hit "Sing, Sing, Sing" were the first extended drum solos to be recorded commercially.[3] In 1938, Krupa performed with the Goodman Orchestra in the famous Carnegie Hall Jazz Concert.

After a public fight with Goodman at the Earl Theater in Philadelphia, Krupa left Goodman to launch his own band and had several hits with singer Anita O'Day and trumpeter Roy Eldridge.

In 1939, Gene Krupa and his Orchestra appeared in the Paramount movie Some Like It Hot, which starred Bob Hope, performing the title song, "Blue Rhythm Fantasy," and "The Lady's in Love with You." Krupa made a memorable cameo appearance in a pivotal scene of the 1941 film Ball of Fire, in which he and his band performed an extended version of the hit "Drum Boogie," which he composed with trumpeter Roy Eldridge.

Gene Krupa Drive in Yonkers, NYIn 1943, Krupa was arrested for possession of two marijuana cigarettes and was given a three-month jail sentence.[4] Krupa was not a wealthy man and spent most of his savings defending himself of this charge and fell into a depression for several months, believing his career to be over. Then, Goodman invited him to perform with his orchestra. Audiences welcomed Krupa's performances, and while the reunion would never last, Krupa was performing again, thanks to this nudge.

Krupa soon formed his second orchestra. This one was notable for its large string section, and also featured Charlie Ventura on sax. It was one of the largest dance bands of the era, sometimes containing up to forty musicians. He also invited another drummer into the band so that he could take breaks and lead the orchestra from the front. However, audiences were not paying to see him conduct, and he gradually accepted this.

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