| OCR Text |
Show How to Get a Job With Spike Jones How do you get a job with Spike Jones? "All you have to be able, to do,' says "City Slicker" Freddy Morgan, "is everything. f "I'll never forget the day I walked up to Spike and asked him for an audition. 'First, he just looked at me a ' while. Then he said: 'Man, are you crazy?' "I assured him that I was. " 'Do you sing?' he asket me. "Sure," I said. "Like to hear me?" " 'Later,' Spike said. He noticed no-ticed my guitar case. 'Play banjo as well as guitar?' "Sure," I said. " 'Anything else?' Spike asked. "Sure," I said. 'Saxaphor.e clarinet and piano." " 'Do impersonations?' "Sure." " 'How many?' "I told him 27. " 'Foreign dialects?' "Sure Japanese. French, Russian, Rus-sian, Italian and Spanish." " 'Dance?' Spike asked me. "I told him I was sorry." " 'Tough,' Spike said. Tfoti were doing okay up to here.' "I was just walking out the door when he called to me: 'Wait a minute. Maybe we can send you to Arthur Murray. ' " That's how Freddy Morgan became a "City Slicker," and a featured performer on "The Spike Jones Show" heard on CBS every Sunday evening (6:30 p.m. EST)... Now, you should see the Cossack Cos-sack dance he does white impersonating imper-sonating Joe Stalin, in F.ussian dialect, while playing his bnnjo and singing the lyrics of a novelty nov-elty number called "Uncle Jo.-;." Bird limitations Dr. Horatio Q. Birdbath (real name, Purv Pullen) does impersonations im-personations of 175 birds, 75 miscellaneous mis-cellaneous animals, six Fnnkes two insects, and one orchestra leader (Vaughn Monroe). He was with the late Ben Brnie for seven years, and was featured on Ben's famous "Let's All Sing Like the Birdies Sing." Bird-bath Bird-bath also does the nature effects for the Tarzan pictures, his best-known best-known impersonation being that of "Cheetah," the aaonkey. Two local Jazz enthusiasts who by-line their column "By Ottum et al" have been mulling over an idea for a column on Jazz for the last four or five months Their purpose is fourfold: four-fold: 1. To take up the cause of Jazz here in Salt Lake the hinterlands hin-terlands before it is lost altogether. alto-gether. 2. To explain to the "younger "young-er generation" what jazz is all about. 3. To give fair critiques ol contemporary "Jazz" as it is presented pre-sented at the dance salons, on disc-jockey shows, at one-nigh concerts, etc. 4. To take to task the local so-called so-called Jazz prophets who, thev claim, are "killing Jazz by completely com-pletely ignoring their primary role of critics in favor of rank commercialism." Ottum, the speaking half of the team, has this to say: "This isn't a whim. It's a cause! We're sick of seeing Jazz artists come to town and then be completely Ignored. Or, if their show is reviewed, to have it written by writers who are neither qualified nor interested in Jazz. And, even worse, we're tired of hearing the Jazz artist? interviewed by disc-jockeys who consider the interview an opportunity op-portunity to parade their own imbecilic talents or lack of sanv "We think good Jazz has a tremendous audience and there-fare there-fare deserves fair, honest, serious se-rious appraiaaL" |
