In response to dozens of request about Goodman and Krupa stuff on YouTube, we have gone to untold time and expense to figure out a way to get this stuff on DVD.  Here it is:  “BennyTube.com” includes the newsreel footage from JATP/Helsinki/1953, “Avalon” and “I Got Rhythm” with the Goodman Trio from the Peggy Lee tv special of the late 1950s, a couple of bonus tracks from the other “Swing Into Spring” tv special with Benny and Red Norvo in a small group, and the original theatrical trailer to “The Benny Goodman Story.”  They said this couldn’t be done.  But we did.

Websites like YouTube, MySpace, DailyMotion and the rest–to say nothing of the plethora of drum sites out there–are invaluable guides to learning and wonderful clearing houses for knowledge and information. By way of making available hours of vintage footage from the legendary jazz drummers, percussionists of every age have the ability to enjoy and learn from the likes of Gene, Papa Jo, Big Sid, Buddy, Tony, Art, Max and the rest. Influences of these giants can already be heard in the playing of the younger artists out there and I know they’re really listening to these legends more than ever.

Mainstream publications like Jazz Times and various drum magazines are directing readers to what they believe are “the best” clips on these sites.

What a revolution.

Until the advent of such sources of video and audio, where did drummers and music fans have to go for their info?

Most likely to videos and DVDs with titles like “Gene Krupa: Jazz Legend,” “Gene Krupa: Swing Swing Swing,” “Legends of Jazz Drumming,” “Classic Drum Solos and Drum Battles,” “Buddy Rich: Jazz Legend,” “Lionel Hampton: King of the Vibes,” and more.

What do those titles, still very much in print, by the way, have in common? They were produced by true visionaries, from companies like DCI Music Video, Warner Bros. Publications and Hudson Music, who pioneered the concept of the “performance-oriented retrospective” on the great drummers in history, and enlisted such names as Steve Allen, Mel Torme’, Louis Bellson, Jack DeJohnette, Roy Haynes and Mike Mainieri to narrate and add commentary to these projects in an effort to reach as wide an audience as possible.

Oh, yes. They also were all co-produced and written by me, and I can give you no accurate estimate of the time and expense it took to put these together. These films were made to viewed in their entirety, with the narration, the order of clips, and the hundreds of historic photographs spanning 75 years of music adding up to a complete and organic “whole,” i.e., the sum of its parts.

Around a good 80 percent of the clips from these DVDs and from others are all up on YouTube and the like, free of charge, and with no credit given as to where they came from . It is not only the fault of the site (“You want to sue?” we were once asked by someone from YouTube, “Then stand in line behind CNN, Paramount, CBS, NBC and Disney”) but the fault of those who have purchased the products through the years and upload them on such sites without regard for those involved in the creative end, and without regard for those who spent hundreds of hours and thousands of dollars finding these historic gems.

When this started happening, and it blossomed rather quickly, my hope was that these clips on YouTube would feed into interest and hopefully, sales, for the complete product. In other words, if someone posted the famed clip of Gene Krupa on The Dean Martin Show and put a credit line on the clip that read–“from the Hudson Music video ‘Gene Krupa: Swing Swing Swing’–then maybe a few YouTubers would check out the actual video, buy it, and make it financially possible to produce more.

That hasn’t happened, except in a rare instance or two, and too many of the folks posting this material are either in states of denial or are just plain lying. For instance, one chap I emailed about unauthorized posting of material with no credit given claimed he found the video in a thrift shop in an unmarked package and therefore had no idea as to its source material. I guess he didn’t watch the part of the tape that said “a Hudson Music release produced and written by Bruce Klauber.” Another fellow challenged me on ownership.

These people are basically coming on my job and doing it for free. I wonder what would happen if I showed up at their places of business and did their work for free.

If this sounds like sour grapes, that’s because it is. Like I’ve said and have said many times in this space and other places, if we can just give credit where credit is due, then everyone profits. Folks get to see the free clips, with credit lines, on YouTube. In that way, everyone has the chance at profiting.

YouTube cannot be stopped. It’s just too large. And because of what they and the YouTube visitors have created, the “given” is that all this material should, quite simply, just be free for everyone.

One of the things we’ve tried to do through the years at JazzLegends.com is to discover and offer film and audio that is just not available on YouTube, DailyMotion or anywhere else. Perhaps you’ll see a clip or two from one of our discoveries, but never the whole DVD or CD. Likewise with the long-anticipated Internet drum channels from Hudson Music and Drum Workshop. Though still in the development stage, they will be offering everything from drum lessons to vintage films and interviews with the giants in a manner where everyone involved is duly compensated and credited.

I must also add here that the vast majority of drum sites, from Drummerworld.com on up and down, to a fine, fine job of crediting everyone involved in what they post, including artists, photographers, producers, writers, etc.

Is there still a market for the stand alone DVD? You bet there is, given that it’s material you can’t find on the Internet. And that’s what JazzLegends.com will continue to devote itself to.

God bless and keep swingin,

Bruce Klauber, September, 2008

First and most importantly, belated good wishes to all of you for a swingin’ New Year and beyond. Your continued support, encouragement–and suggestions–mean the world to me. Here’s hoping that this year brings more discoveries and more great projects.

Our apologies to those mail order supporters who did not get the message that for most of the month of January, as well as the last two weeks in December, all mail orders need be sent to: Bruce Klauber, 1108 Forrest Lakes Boulevard, Naples, FL 34105. Joy and I are down here enjoying children, grandchildren, in-laws and the rest. Naturally, Joy did her annual Christmas bash, and this year there were over 20 good folks in attendence. It’s worth the work.

Naples, Florida, is one of the great jazz towns in the country, believe it or not. We’re sitting in here at least two nights per week and doing some subbing when asked. The wonderful scene here is led by a superb singer by the name of Jebry, aka Judy Branch, who spent some great time with the Harry James band of the late 1960s. Her husband, Bobby Phillips, is a fabulous, fabulous drummer, and these great people lead some of the darndest jam sessions you ever heard. In fact, we’re going out on the town tonight with Jebry and Bobby for something of a “jazz tour” of nearby Fort Myers.

The drum catalog book project is moving along, and is now on the desk of the Alfred Publishing Company. Truth be told, I wasn’t thrilled about my treatment from the previous publisher who was considering this, despite the fact that I’ve personally helped put hundreds of thousands of dollars into their collective pockets. At this late date, the very least I can expect–and demand–is respect. Alfred Publishing is a company filled with good, compassionate, understanding and forward-thinking people. Like Hudson Music, for me, it’s the place to be. We have narrowed our conceptual sights down a bit for this book, and I think the working title, “The Great American Drum Catalogs: The 1950s” says it all. I’ve bombarded Alfred with more than enough ideas over the past year or so. I have the feeling that this one, like our 1950s “Jazz on TV” DVD project, will go through.

The idea of a Gene Krupa drum stick is still very much a possibility. Vic Firth is still up in the air about it, but there are several smaller companies ready to move on the idea right now. Stay tuned. In the meantime, we are doing everything possible to gather up what’s left of the famed, Capella “Heritage” model Krupa stick, in hopes of making them available on our site.

In another area, and forgive me if I’ve gone through this before, the YouTube era is indeed here and there seems to be no stopping them. What you might not know is this: YouTube is broadcasting thousands of videos illegally, without regard to copyrights or ownership, and this includes footage from virtually every video and DVD I’ve written and produced since 1993. And all this goes on without credit of any kind. Two examples? The famed, Jerry Lewis/Buddy Rich drum battle sequence from the mid-1950s was given to me, personally and exclusively, by Jerry Lewis as thanks for a significant personal donation I made to Muscular Dystrophy. This footage shows up, as of today, an astounding 18 times on YouTube, in full-length form. Another blatant instance is the Krupa/Rich drum battle from the Sammy Davis, Jr. television show of 1966. I went to the ends of the earth to discover, restore and pay for this footage, and it’s up there for all to see, at no charge and with no credit given, on YouTube. This is called stealing, and YouTube is stealing from hundreds of companies and individuals, from Hudson Music and Alfred Publishing to CBS and CNN. Want to sue? Wait in line. Want to force them to stop showing clips illegally? Prepare to fill out several dozen pages of paperwork. It’s grown too big too quickly–just like the internet–to stop it, though believe me, I’m going to try.

Though there is no real way to combat this, I will take the suggestions made in the Forum — about making downloads of clips that are not on YouTube available on the JazzLegends.com site — to heart.

Due to your wonderful support over the years, our singular product line and the efforts of our genius of a Webmaster, this web site is among the most visited of its kind in the world, with a domain name that has become quite, quite valuable. We’ve said this several times over the past year, but 2007 will be the year of actively pursuing appropriate advertisers. No site reaches the audience we do and there are literally hundreds of potential drum and jazz-oriented companies out there who should be advertising on JazzLegends.com Since all of you have helped make us what we are, I offer you the following: A home page display ad will cost $1,500 per month, with the biggest, bottom-of-the-page banner that we can fit. Other pages list at $1,000. This includes a link on our links page, any graphic design needed, and when appropriate, some insightful editorial about the company itself. Anyone out there–and anywhere–who successfully gets a company to join us gets 20 percent of whatever is sold. This is a deal. For more details, if necessary, e-mail me personally at DrumAlive@aol.com

Finally, we are going to extend our DVD sale price of $20 through January. You all deserve it.

God bless and keep swingin’

Bruce Klauber January, 2007

After some good reviews both in and out of the industry and decent sales for a project of this scope, the backlash against “Gene Krupa: The Pictorial Life of a Jazz Legend” has begun, as I knew it inevitably would. The e-mails being received in this regard, and thankfully there aren’t many of them, concern a number of errors that these readers found, all told, totaling about eight, and one was a typo. Some suggest that Gene is deserving of a more “scholarly” work. Others claim that I am spouting inaccuracies because, since the subject of the book is dead, no one will know the difference. Wow. 

Regretfully, there are errors thousands of publications of every kind. Some of the publications, like the errors they contain, are of every size and type. One, very, very well-known mail-order catalog, just as minor example, continues to say that “drugs destroyed (Gene’s) life” in their copy advertising “The Gene Krupa Story. DVD. One very well-known writer for the jazz magazine “of record,” recently reviewed a big name singer and credited his drummer for doing a fine job. Problem was that the drummer he named only appeared on two tracks recorded 20 years ago, because said drummer has been dead since 1989. One great newspaper review of a concert, that appeared in Philadelphia publication years ago, was a rave, rave write-up of a Ray Charles concert. The problem this time is that Charles actually cancelled the concert and there was no such show. The year after, Philadelphia’s major newpaper and Pulitzer Prize winner had a review of a Count Basie concert. The reviewer remarked that he especially enjoyed the Count’s rendition of the famous song, “Chinese Stockings.” I’m not even going to talk about the minor inaccuracies that pop up in many jazz books. It’s a fact of life, and it happens. Always did, always will. 

Hopefully, whatever screw-ups made by my publisher, my editor and me—individually and collectively—stand as more minor than Count Basie’s “Chinese Stockings.” That reviewer is still working, by the way. 

Some of the errors mentioned in my Krupa book are some reputed misspellings (Frank Bellino’s name was spelled Bellino in no less than “Down Beat” magazine, though someone insists it is spelled otherwise), the exact year when Gene began using a swish cymbal (told to me, by the way, by both Charlie Ventura and Eddie Wasserman), dates of photos that may or may not have been off by a year or two, some background figures in photos that may or may not have been misidentified, etc. 

I do regret two errors: One was a simple typo, naming my good friend Bruce Crowther as Bruce Growther. It happens. Just as another crazy example, a major drum magazine which should know much, much better, spelled my last name as “Kaluber.” And I’ve been working with them for almost 20 years. Like I said, it happens. So, to my friend Bruce, and we refer to each other as “the other Bruce,” 

My sincerest apologies. 

The other grievance concerns a photograph that is evidently owned by that great drummer, Krupa fan, Krupa supporter and keeper of the Krupa flame, Brooks Tegler. I will not—nor will I ever—dispute the fact that the photograph in question is owned by Brooks Tegler. I know Brooks and his dad, the great John Tegler, for many years. If the Tegler’s say it—about anything—you can bet it is so. From my end, on the copy of the photograph I had, there was absolutely no identifying mark or photo credit on or near the photo itself. Several others, whom I will not name, have also evidently used it uncredited. Believe me, as was said in the book’s introduction, if an error was made in terms of credit, it is deeply, deeply regretted and I will do everything within my limited power to make things right. I have been in the Tegler’s home and in their company many, many times. What they do for the cause of jazz simply cannot be measured. Brooks, by the way, is heading up a jazz cruise this coming August, where his crackerjack big band will pay tribute pay tribute to Gene, Benny, Glenn Miller and various others in the most authentic manner possible. John will offer commentary and plenty of inside stuff along the way. Check out the latest issue of “Jazz Times” for details. 

As some of you know, this book was caught in the transition between publishers, when Warner Bros. Publications was sold to the Alfred Publishing Company. If things hadn’t become so complex during this changeover, and I am told that the Krupa book was one of the few projects that survived the change, there likely would have been fewer mistakes than the eight or so reputed ones that there could be. In using over 200 photos, most of them not credited in any way, shape or form, it’s quite possible that some of them may be off by a year or two in terms of identification. Unless you where there, your guess is as good as mine…believe me. I am not offering excuses, but the accusers should know some of the details involved in a production like this before they accuse so negatively. 

There are several “little guys” (to use Gene’s term) out there who, it appears, want to claim some kind of “ownership” of Gene and, for whatever reason, want to nitpick to death projects like these and those who do them. One, in particular, who is no longer with us, virtually “nixed” the promotion of a Slingerland, “Krupa Tribute” drum set, as he insisted that Gene “invented” the Radio King snare drum, insisted that Slingerland include a 16 X 18 floor tom in the kit, etc. Look whavt happened to the “new” Radio King line. 

Let me give you some names of those who have given my books and videos a good deal of support through the years: Charlie Ventura, Marty Napoleon, Bobby Scott, Eddie Wasserman and John Bunch. They all played with Gene, and yes, I had the good fortune of playing with them as well. Then there were Mel Torme’, Teddy Wilson, Louis Bellson, Jack DeJohnette, Ed Shaughnessy, Roy Haynes, Elvin Jones, Steve Gadd, Max Roach and many more with whom I’ve worked over the years. The contemporary drummers in the new Krupa book, who know more about Gene than anyone can imagine, have also been behind me since day one and have never suggested my various works be “more scholarly” or bugged me about the date Gene used a swish or sizzle cymbal. 

I decided long ago that the jazz community was much too small for us to be criticizing each other, and that was the time I made the decision that I would no longer function as a critic…of anything. Here’s one example why: In the “critical” arena, there’s an author and reviewer out there who stands as about the most prolific author and reviewer on jazz in the jazz industry. This guy must be watching DVDs and listening to CDs in his sleep, and good for him. We were, at one time, colleagues and associates in this very small community. As a matter of professional courtesy, I sent this fellow a copy of a semi-private CD release by a vocalist I helped produce—and I played on it as well. My only request to this guy was, “If you dig it and want to say a nice word or two about it, please have a ball. If it’s not to your taste, just toss it out and forget it existed, as it’s mostly a self-produced private thing, anyway. This was some years ago, and I didn’t discover until recently that Mr. Jazz Author reviewed this project, posted on some inconsequential website, and absolutely “skewered” the vocalist and those involved. It was mean-spirited. What was the writer’s purpose in doing this? As Jackie Gleason one said, “What does it get you?” The negatives hurt. Forget the fact that I may be hurt. The negatives hurt the industry. How many of those, after all, are there in what we call “jazz?” 

Good, bad or indifferent, I believe that the various Krupa projects over the years—whether video, DVD, books or magazine articles, tribute bands and drummers, CDs and web sites—have really helped bring Gene’s name back before a public that may have forgotten him, and have helped garner an entire new audience for the man and his music. That, I believe, is the point, not whether Gene used a swish cymbal before 1962. 

Three books have been written about Gene since 1992: one by Bruce Crowther and two by me. If any of you, mainly those who really do know volumes about Krupa, I cordially invite you to write your own. I’ll help you get a publisher, too. 

I am so fortunate that my friend, and yes, my musical idol, Charlie Ventura lived to see my first Krupa book come out. Other than those in the Goodman Quartet, Charlie, I believe, had the longest on-and-off association with Gene. I asked Charlie one night what Gene would have thought about my book. “He would have loved it, Bruce,” Chaz said. And that was and is enough for me. 

AND IN OTHER MATTERS 

There is a lot of controversy these days about the famous—or infamous, depending on your point of view—website called YouTube. I believe there has been some discussion about it on our Forum, as well. The fact is, and you can ask anyone from NBC and CNN on up and on down, that YouTube is using copyrighted material. By the droves. I am told that the numbers of those now lined up to sue them are more than equal to the population of a small state. Yes, they are showing Gene Krupa clips, and yes, most of them are mine. And yes, I paid thousands for them through the years. And yes, this is copyright infringement of the most obvious kind. It will be an eye-opening experience for some of you to see the hoops one must go through in order to actually prove copyright infringement. One has to provide everything from your waist size to the maiden name of your next-of-kin. Though this is an exaggeration, check it out. I did, and I have neither the time nor the desire to attempt to fight what is rapidly becoming the internet version of big brother and city hall. If YouTube, reportedly a billion-plus dollar company, gets its rocks off by showing a clip of Gene playing “Leave Us Leap” that I paid Turner Entertainment a thousand-plus dollars for in 1993, then so be it. I wish I had the support that they did, and in line with that, as has been mentioned before, www.JazzLegends.com is now accepting appropriate paid advertising. E-Mail me if you’re interested. Maybe I’ll pitch YouTube. 

Talks are continuing with Vic Firth about a Krupa drumstick, and I do hope to meet with Vic personally after the holidays. Likewise with our concept for “The Great American Drum Catalogs” book, which has already garnered the endorsements and blessings of Gretch and Ludwig. Stay tuned and have a swingin’ Thanksgiving and beyond. 

Bruce Klauber 

November, 2006