Posted by Steve Marcus on January 19, 2000 at 00:17:35:
In Reply to: Re: Harvey Phillips w/Sauter-Finegan posted by Tim Loehr on January 18, 2000 at 13:00:30:
In fact, Tim, I did get an answer directly from Harvey Phillips when I posted this question on Tubaeuph (Jim Self relayed the question to Harvey Phillips):
"Instrumentation of the SO:
Reeds: 5 players doubling multiple instruments
basic alto I, alto II, tenor I, tenor II
Doubling: piccolos, flutes (bass & soprano), clarinets (E-flat,
soprano, bass, bassoon, oboe, Eng.hrn., recorders (bass, alto,
soprano) tonettes, kazoos, other!!
Brass: 3 trumpets, 3 trombones, 1 tuba
Rhythm: guitar, bass, drums, piano
Percussion: 2 players with every percussion instrument imaginable.
Additional: 1 harpist, female vocalist, male vocalist
(all musicians played other instruments: wood blocks, sleigh bells,
kazoos, finger cymbals, etc., etc.).
"Comment: Every musician who played in the SFO considered that experience
to be the highlight of their professional career. The SFO was family.
"Someone should prepare a book about the SO while there is still time.
We have lost Eddie Sauter but Bill Finegan is still with us and as sharp
as ever. Also, there are a sufficient number of musicians who toured
and/or recorded with the SFO.
"Short bios: Both Eddie and Bill were one time trumpet players who
became consummate big band arrangers and composers. Eddie with Benny
Goodman and Ray McKinley, and Bill with Tommy Dorsey and Glenn Miller.
It was genius of RCA Victor to envision combining their talents.
"I was asked about the use of tuba. Both Eddie and Bill considered the
tuba as a bass voice in the brass and woodwind sections. No arrangers
in my experience ever used it better.
"By my recollections, the SO began recording in the summer of 1952. Tuba
players were either Bill Barber or Joe Novotny. I remember going with
Joe to a session at Manhattan Center when they recorded "The Honey
Jump" These early recordings stood the commercial music world on its
proverbial ear! In late spring of 1953 it was decided that the SO would
commence touring. It was my good fortune that neither Bill Barber or
Joe Novotny were available to tour. I got the gig! I toured with the
SO until late October and had to leave to do one of my regular
assignments with the New York City Ballet. When word got out that I was
leaving the band, Jay McAllister (then tubist at Radio City Music Hall)
came to me and said he would like the job.
Jay was a fine player and I was happy to recommend him to Eddie and
Bill. Jay stayed with the band until they folded in the late 50's. In
the early 60's the band was reassembled to record two LPs for United
Artists, it was my good fortune again to be asked to do these
recordings. A number of the band's early hits (April in Paris, Sleigh
Ride, Doodle Town Fifers, Doodle Town Races, others) were re-recorded to
benefit from stereophonic sound and the more advanced
recording techniques. The second of these two albums featured new
arrangements, including a tongue-in-cheek rock version of Blue Moon
which closed with a tuba cadenza.
"When one manages a busy freelance schedule it is impossible to be
involved in all the opportunities that come your way because of
commitments already made. Then there are those conflicts when one must
make career choices. This is the downside of a busy and successful
freelance career.
"I appreciate [y]our comments regarding my recorded performances with the
SFO. Forgive the old cliche "it was a labor of love
"Best wishes for the New Millennium!"
Harvey Phillips