Radio and television mirror (July-Dec 1941)

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Clap Hands, Here Comes Charlie WHEN Charlie Spivak was told that his parents would take him to the neighbors' wedding, he looked forward to the event with all the enthusiasm a fourteen-year-old boy can muster. He was certain that it would surpass in thrills such red letter dates as the closing of school, the measles, and the annual visit of the circus. The boy was right. Although more than a decade and a half have passed since then, Charlie will never forget it. "Don't ask me to tell you the names of the bride and groom," he said, as his band paused between dance sets at Glen Island Casino, "but I can still hear the strains of the soft, muted trumpet that played for them." The magnetic music Charlie heard that night decided his career. Forgotten were the plans of his father to make his son a doctor. It wasn't a well-known orchestra that attracted the boy; just one of those makeshift groups one hears at such functions. Only the trumpet stood out, clean and sharp, waiting impatiently for the rest of the band to catch up. The notes that poured forth reverberated through the boy's short, stocky frame. "It was a strange sensation," the bandleader recalled, "because I had never felt that way about music before. I went over to that rickety bandstand and never left it." Next day the boy went to see his Pied Piper. He didn't have to go far. Trumpeter Milton Stein was a local musician who lived a few blocks from the Spivak grocery store in New Haven, Connecticut. "I heard you play last night," said Charlie worshipfully, "and I can't get the music out of my head. Would you teach me to play like that?" Stein was inclined to ignore the boy's strange request. But something in Charlie's manner made him pause. "Tell you what, kid," suggested the musician, half-heartedly expecting his offer would discourage the lad, "I'll give you a few lessons. But it will cost you a buck a piece." "Gosh," replied his future pupil eagerly, "I'll be glad to pay that even if it means doing without the movies." Although Stein wearied of his task after a dozen lessons, Charlie was confident. He sought out George Hyer, trumpet virtuoso with the New Haven Symphony and made arrangements to continue his study. Lack of funds made the going difficult. "My first cornet was so small," Charlie explained, "that I was always getting the first valve in my nose." However, Charlie overcame these difficulties and by the time he was graduated from high school he had no trouble getting a job with a local band known as the Paragons. Paul Specht heard him and added the youngster to his band. He stayed with Specht five years and acquired a small reputation. Like other fast rising jazz instrumentalists, Charlie got offers from a dozen other bands; linked up with the Dorsey Brothers, Bob Crosby, Ray Noble, and Ben Pollack. It was while with the latter on a road tour that the trumpeter met his wife Fritzie, a St. Paul librarian. When the baby came, Charlie decided it was his duty to stick close to home and he concentrated on jobs with network studio bands. It was Glenn Miller who suggested that Spivak form his own band. The bespectacled trombonist was so positive that his friend would click that he helped finance the undertaking. That was a year ago. The band has developed quickly, thanks to a stream of Okeh recordings and a heavy air buildup on Mutual from Glen Island Casino, known as the cradle for new swing bands. Tin Pan Alley thinks the Spivak crew is destined for big money brackets; points to the night last July when 1,700 people packed the Westchester dance rendezvous to help Charlie beat his friend Glenn Miller's record there. The band is heavily staffed. There are 21 people in it, including singer Garry Stevens, who hitch hiked to Glen Island to get the audition, and The Debs, a trio of girl singers. Most of the musicians are from Washington, D. C, and were recommended to Spivak by Miller. Although the organization is not making real money at the present time, Charlie believes profits will come once the band embarks on a lengthy road tour this Fall. He has paid back Miller. Highlight of the band is Charlie's exciting trumpet solos. "His style of playing sweet and hot without blasting the roof has caused much comment. To accomplish this, Charlie invented a mute designed especially for microphone and recording work. It is patented under the name, "Spivak tone" and will be on the market some time next month. "Using this mute I could blow my trumpet into your ear without piercing it and the person sitting next to you would be unable to hear it," he explained proudly. At present, Charlie, his wife, and six-year-old son, Joel Allyn, live in a rented house in New Rochelle, N. Y., near Glen Island. Pride of the household is the Spivak heir. But father S^^e£&Z LESTER DAMON — who grabbed the title role on the Adventures of the Thin Man program on NBC Wednesday nights when every actor on Radio Row was auditioning for it. Lester began his acting career in Stockbridge, Massachusetts, eight years ago, and went from there to the famous Old Vic Theater in London to play in Shakespearean dramas. Returning to the United States, he was kept busy in Broadway shows until 1938, when he guest-starred for one performance in Backstage Wife. He liked radio so much that when his current stage show closed he went to Chicago and began working on the air so single-mindedly that in the following three years he's played the lead in fourteen network serials, which is a real record. RADIO AND TELEVISION MIRROR