Table of figures.

Figure 1. Pick-up rhythm. ........................................................................................................................ 2

Figure 2. Tom-tom rhythm bars 1 - 4. ..................................................................................................... 2
Figure 3. Tom-tom rhythm, bars 5 - 8 with shift to rack tom-tom. ........................................................ 2
Figure 4. 2 bar rack tom-tom phrase. ..................................................................................................... 2
Figure 5. Introduction of triplets into the solo. ...................................................................................... 2
Figure 6. Accented rolls phrase over three bars. .................................................................................... 2
Figure 7. Accented tom-tom phrase, end of first section. ...................................................................... 2
Figure 8. Snare drum and Chinese cymbal, start of Section B. ............................................................... 2
Figure 9. Military-style 2 bar pattern. ..................................................................................................... 2
Figure 10. Snare and cymbal build-up. ................................................................................................... 2
Figure 11. Snare drum accented ending of solo. .................................................................................... 2
Figure 12. Accent motif. .......................................................................................................................... 2
Figure 13. Sandilands' hi hat under tom-tom pattern. ........................................................................... 2
Figure 14. Sandilands' tom-tom pattern with sticking. ........................................................................... 2
Figure 15. Carlson's tom-tom pattern with possible sticking. ................................................................ 2
Figure 16. Sandilands' open rolls between tom-toms. ........................................................................... 2
Figure 17. Sandilands' tom-tom and foot pattern. ................................................................................. 2
Figure 18. Sandilands' snare drum ending. ............................................................................................. 2

1
 My choice of The Golden Wedding drum solo as my major transcription and analysis

was no accident. The Brian May version was the first drum solo I had ever heard and I

immediately fell in love with it and vowed that one day I would be able to play the Ron

Sandilands interpretation. It was strange that I had never listened to the original Woody

Herman track so when I did listen to it for the first time in 2013, I realised that Sandilands

had almost copied the Carlson solo. It was then that I conceptualised the compare and

contrast extension to the existing transcription and analysis assignment.

The Golden Wedding or La Cinquantaine began as a chamber music composition

written by Frenchman Jean Gabriel-Marie in 1884 1. On November 9th 1940 in New York, 2the

Woody Herman Orchestra recorded the James “Jiggs” Noble arrangement of The Golden

Wedding 3 which featured an extended 34 bar drum solo by Frank Carlson. This was in all

probability in response to the huge, ground-breaking success of Benny Goodman’s Sing,

Sing, Sing (With a Swing) which featured the very first extended drum solo 4 by Gene Krupa.

The Golden Wedding reached #23 on the US Billboard Charts in 1941 where it stayed

for a week. 5 Not much more information is available about the success of the tune except

Woody Herman notes in his autobiography that it “…did well for us…”. 6The tune must have

meant something to Herman as he re-arranged it in 1951 for his Third Herd drummer Sonny

Igoe to solo on but renamed the tune The New Golden Wedding. 7

1
Steven Isserlis and Stephen Hough, “La Cinquantaine.” Children’s Cello. Comp. Jean Gabrielle-Marie.BIS-CD-
1562. 2006. Compact Disc.
2
“Blurbs and Reviews.”Naxos Music.com. 2012.
http://www.naxosmusic.com/mainsite/blurbs_reviews.asp?item_code=8.120658&catNum=120658&filetype=
About%20this%20Recording&language=English [accessed April 4, 2013].
3
Woody Herman and Stuart Troup, Woodchopper’s Ball: The Autobiography of Woody Herman [New York:
Limelight Editions, 1994], 20.
4
Mike Haid, “Top 25 Drum Solos of all Time.”Modern Drummer, April 2006, 105.
5
“Songs of the 1940s.”Tsort.n.d.http://tsort.inf/music/53gefn.htm [accessed March 30, 2013].
6
Herman and Troup, Woodchopper’s Ball, 20.
7
The Third Herd, “The New Golden Wedding.”Standard Times-TheThird Herd (1951-1952). Comp. Jean Gabriel-
Marie. OCM00212. 2003. Compact Disc.

2
 In 1937 Gene Krupa changed the way drums were conceived as an extended soloing

instrument. 8 Up until this time a drummer may have played a short introduction to a tune or

traded fours in a chorus but had never been given a long, stand-alone solo. 9Sing, Sing, Sing

(With a Swing) changed this forever and now big band leaders were frantic to capitalise on

Benny Goodman’s success. Chick Webb’s band released Liza in 1938 10 which is said to be

“…a superior response to Gene Krupa’s solo performance…on Sing, Sing, Sing.” 11 Woody

Herman followed in late 1940 with his orchestra’s recording of The Golden Wedding. It is

interesting to note that all these drum features started with the drums playing a short

introduction before the band enters. While Krupa plays mainly his trademark tom-tom

pattern, Webb starts with a snare drum rhythm which he continues with throughout most of

the solo breaks. Carlson’s beginning solo is quite Krupa-esque on the tom-toms but of all

three drummers his main solo break is the longest at thirty-four bars while Krupa’s longest

was twenty-two and Webb’s was eight bars long.

While it has often been stated that Krupa’s playing was not up to the standard of

Webb, Carlson or Buddy Rich, 12 he paved the way for all drummers to shine as soloists. He

was also quite intelligent in the way he perceived drummers and their art.

You see, most white musicians of that day thought drums were something you used to
beat the h(ell) out of. The monotonous pattern made you feel weary after listening to
it for a while. Few of them realized that drums have a broad range of tonal variations
so they can be played to fit into a harmonic pattern as well as a rhythmic one. 13

8
Gordon B Peters, The Drummer: Man; A Treatise on Percussion [Wilmette, IL: Kemper-Peters Publications,
1975], 65.
9
Walter Kolosky, Girls Don’t Like Real Jazz: A Jazz Patriot Speaks Out [Cary, NC: Abstract Logix Books, 2004], 39.
10
Chick Webb and his Orchestra, “Liza (All the clouds fall away).” Jazz Masters: Chick Webb and his Orchestra.
Comps. George Gershwin, Ira Gershwin, Gus Kuhn. 2011. Compact Disc.
11
“Biography: Chick Webb.” Public Broadcasting Service.2013.
http://www.pbs.org/jazz/biography/artist_id_webb_chick.htm [accessed May 5, 2013].
12
Scott Yanow, “Biography: Gene Krupa.” All Music. 2013. http://www.allmusic.com/artists/gene-
krupa.mn0000196934 [accessed May 5, 2013].
13
Leonard Feather, The Book of Jazz [New York: Meridian Books, 1959], 206.

3
Transcription 1: “The Golden Wedding” performed by Woody Herman Orchestra. Drum

Solo by Frank Carlson. Solo from: 1:01, (see appendix 2).

Frank L Carlson was born in New York, New York in 1914 where he studied drums.

He was a rarity in his time as he played drums left handed. His break came when he

performed with Woody Herman’s First Herd from 1936 to 1942. 14After departing Herman’s

band Carlson headed to the West Coast of the United States where he gained notoriety and

much work for MGM on film soundtracks 15 as well as backing Doris Day, Bing Crosby, Fred

Astaire, and Elvis Presley. Carlson retired to Hawaii in the 1960s when studio work was

declining. 16

Overview

This solo is 34 bars in length and for the purposes of analysis the solo has been

divided into an A and a B section, (see appendix 1). The A section comprises bars 1 to 22 of

the solo, and the B section is from bar 23 to bar 34 inclusive. The rationale behind this

division is that the A section is completely devoted to the tom-toms with a bass drum for

pulse or accenting. In the B section we hear the introduction of the snare drum and cymbals

as the solo builds up to its climactic finish.

Section A

Although the solo starts at bar 49 of the tune (bar 1 of the transcription), there is a
Figure 1.Pick-up rhythm.
pick-up figure starting on the “and” of beat 3 in bar 48.

14
Leonard Feather, New Grove Dictionary of Jazz. Edited by Barry Kernfield. Series edited by Stanley Sadie
[New York: Macmillan Press Ltd., 1994].
15
Todd Decker, Music Makes Me: Fred Astaire and Jazz [Berkeley, CA: University of California Press, 2011], 45.
16
“Biography: Frank Carlson.” Artist Direct. 2010. http://www.artistdirect.com/artist/bio/frank-carlson/412074
[accessed March 30, 2013].

4
 This pick-up is the same rhythm that we see at the end of bars 4, 8, and 10 and can be viewed

as a joining motif between the constant rhythm provided by the floor tom-tom and then the

rack tom-tom, (see fig. 1).

Figure 2. Tom-tom rhythm bars 1 - 4.

These four bars in figure 2,which start at mezzo piano, are also the opening bars for the whole

tune which gives the start of the drum solo a familiar feeling and thus places the listener in a

position of anticipation for what is to follow.Underneath the tom-tom pattern Carlson also

lays down the trademark four-on-the-floor bass drum pattern that typified drumming of the

swing era and was a huge break from the more military style of playing on beats one and

three that had preceded the 1930s. 17The tension which has started to be built with the rhythm

in figure 2 is then increased when Carlson repeats the tom-tom phrase in bars 5 - 8. The

listener is given a minor release from the tension when we again hear the accented rhythmic

phrase of figure 1 but now played on the higher pitched rack tom-tom, (see fig. 3). This shift

in pitch heightens the expectation, and thus builds further tension for what the listener can

expect next in the solo.

Figure 3. Tom-tom rhythm, bars 5 - 8 with shift to rack tom-tom.

This shift to the rack tom lasts for only two bars, divided over last half of bar 8, bar 9,

and first half of bar 10. Here we see the classic compositional device of diminution taken to

17
The Century Project: 100 Years of American Music from behind the Drums (1865-1965). DVD. Directed by
Daniel Glass. Produced by DrumChannel.com.Performed by Daniel Glass. 2012.

5
an extreme by quartering the length of the first phrase, (see fig. 4). Whether or not it is a

limitation of the recording techniques of the era, Carlson appears to shift dynamically to

mezzo forte when he plays the rack tom-tom.

Figure 4. 2 bar rack tom-tom phrase.

Carlson then moves back to the floor tom-tom by way of the same rhythmic phrase,

(see fig. 1) but maintains the same length of phrase as played on the rack tom-tom. From here

the solo builds interest by again using diminution.The phrases are now halved to one bar in

length, and by the introduction of triplets in a rapid interplay between the high and low

pitched tom toms as seen in figure 5, there is added rhythmic excitement.

Figure 5.Introduction of triplets into the solo.

This increase in rhythmic activity keeps the listener engaged and builds the tension

for the release which occurs in bars 15 – 20 when we hear the two bar phrase using accented

rolls on the rack tom-tom which is repeated three times, (see fig. 6).The section also marks

the first time that the bass drum rhythm changes from the feathered four-on-the-

floorapproach to supporting the hand part by punctuating the accents. In terms of listening,

this break from the constant bass drum pattern is refreshing and can be likened to the taking

of a much-needed breath.

6
 Figure 6. Accented rolls phrase over three bars.

This is the last rise in tension for the first section of the solo before the climactic

accented rack tom-tom phrase in bars 21 and 22, (see fig. 7) which heralds the start of the

second section and the introduction of the snare drum and cymbals into the solo.
Figure 7.Accented tom-tom phrase, end of first section.

Section B
The opening two bars of the second section contain the only real space in the whole

solo when we hear the first interplay between the snare drum and the Chinese cymbal, (see

fig. 8). The volume here takes another rise to forte over the next four bars.

Figure 8. Snare drum and Chinese cymbal, start of Section B.

This is a refreshing break for the listener as up until this section we have only heard

the lower end, in terms of pitch, of the drum kit. Suddenly we hear the crack of the snare and

the crash of the riveted Chinese cymbal in a one bar repeated motifwhich unusually starts

7
with the floor tom-tom on bar 23, then leads into a military-style two bar pattern using rolls

and accents over a base of swung eighth notes as seen in figure 9.

Figure 9. Military-style 2 bar pattern.

This two bar pattern serves the solo by setting up the next four bars of snare drum and

cymbal build-up, (see fig. 10) which is the penultimate statement before the final four bars of

accented snare drum, (see fig. 11). This is now the loudest part of the solo at fortissimo.
Figure 10.Snare and cymbal build-up.

In this four bar phrase we can hear the first two bars repeated with the slight alteration of the

omission of the snare drum between the final two cymbal crashes. This helps separate this

musical idea from the next and final statement of the solo as up until these two crashes the

snare drum had been acting as sonic glue between the crash 1, crash 2, and Chinese cymbal.

By leaving the space at the end of the phrase, the listener is being directed subtly to the next

phrase. The bass drum once again is acting as a reinforcing agent behind the accented crashes

which gives the added punch of low frequencies to the high frequency crash of the various

cymbals.This is a common device still employed by drummers today.

Figure 11. Snare drum accented ending of solo.

The final four bars of Carlson’s solo can, from a modern viewpoint, be seen as a

stereotypical ending to a drum solo: a rapid succession of snare drum notes with an

8
increasing number of accents which builds up to the climax, much like the ending of Gene

Krupa’s solo on “Sing, Sing, Sing (With a Swing). 18 The concept of extended drum solos and

features in Jazz and Big Band music was still in its infancy when Frank Carlson recorded this

solo with the Woody Herman Orchestra in 1940. 19 It was only three years since the first

pioneering extended solo of Gene Krupa with Benny Goodman on the record Sing, Sing, Sing

(With a Swing), 20so endings like this one in figure 11 were still new and fresh to the listeners

of the era.

The accenting pattern is interesting in that while the bar 31 has accents on beats 1 and

3, and bars 33 and 34 double this figure in an augmentative fashion on beats 1, 2, 3, and 4,

the second bar of the final phrase restates an accented motif heard previously in bars 21, 26,
Figure 12.Accent motif.
27, and 29, (see fig. 12).

Seen as a whole, Frank Carlson’s solo in The Golden Weddingis a well-constructed

composition that takes the listener’s ear on a journey through the sonic capabilities of his

Slingerland drum kit. 21We are treated to extended rhythmic repetition in the low frequencies

of the bass drum and floor tom-tom, rising occasionally to the mid tones of the rack tom-tom

before dropping back down to the floor tom-tom. This journey then plateaus when the rack

tom-tom takes over with repeated accented rolls only to be catapulted into the zone of the

18
“Sing, Sing, Sing (With a Swing).” YouTube.com.
1938.http://www.youtube.com/watch?feature=player_embedded&v=0NigiwMtWE0#! [accessed May 2,
2013].
19
Frank Stacy, “Archives: Classic Interviews “Herman’s Is Finest Ofay Swing Band”.” DownBeat.com. 3 January
1945. http://www.downbeat.com/default.asp?sect=stories_detail&sid=1039 [accessed May 2, 2013].
20
Mike Haid, “Top 25 Drum Solos of all Time.”Modern Drummer, April 2006, 105.
21
John Aldridge, Vintage Guide to Drum Collecting: Essential Guide for Collectors [Anaheim Hills, CA:
Centerstream Publications, 1994], 94.

9
high frequencies of the snare drum and cymbals ending with the machine gun-like accented

eighth notes.

Transcription 2: “Golden Wedding”performed by Brian May and the ABC Melbourne

Showband, from the album “The Great Big Band Hits of The 40’s”. Drum solo by Ron

Sandilands. Solo from 0:54, (see appendix 3).

Ron Sandilands has been playing professionally for the past forty years. His credits

include eight years with Brian May’s ABC Melbourne Showband, countless jingles, more

than two-hundred records as well as soundtrack work on Mad Max 1, 2, and 3, Crocodile

Dundee, and Muriel’s Wedding to name but a few. 22

Overview

The solo performed by Ron Sandilands on Golden Wedding is homage to the original

by Frank Carlson and as such requires no analysis of the structure and content. This section

will endeavour to compare and contrast the two solos as there are subtle and notable

differences between the two solos.

Given the advances made in drum and cymbal manufacturing in the intervening thirty

six years between these solos, 23 little has changed in the drummers’ choices for the solo.

They both use one rack tom-tom, one floor tom-tom, and snare drum for the bulk of the solo.

Both drummers also use the bass drum to either feather a quarter note pattern under the tom-

toms or accent under the cymbal crashes. The first major difference we can hear is

Sandilands’ use of the hi hat in maintaining a “2 and 4” backbeat throughout the entire A

section, (see fig. 13). These days this rhythm-keeping method is seen as a standard Big Band

22
Ruby Page, “Ron Sandilands.” Ruby Page. 2011.http://www.rubypage.com/Ron_Sandilands.htm [accessed
March 29, 2013].
23
Century Project, Glass, 2012.

10
and Jazz device but when Carlson recorded The Golden Wedding in 1940, the modern hi hat

pedal had only just been invented and its use was still being experimented with. 24

Figure 13. Sandilands' hi hat under tom-tom pattern.

The second major difference in the execution of these solos is Sandilands’

interpretation of the repeated tom-tom rhythm from bars 1 to 14. Whereas Carlson opted for

swung eighth notes (see fig. 15), Sandilands chooses to play an open or doubled accented roll

on the tom toms, (see fig. 14).

Figure 15.Carlson's tom-tom pattern with possible sticking. Figure 14.Sandilands' tom-tom pattern with sticking.

The third major difference is the tempo; the Woody Herman version from 1940 is

approximately q = 195 beats per minute 25 while the Brian May recording is faster at q = 208

beats per minute. 26 This is by no means a vast increase in tempo but while it is noticeable,

does nothing to detract from, or enhance the 1976 version.

24
Century Project, Glass, 2012.
25
Woody Herman Orchestra.“The Golden Wedding.” Woodsheddin’ With Woody.Comp. Jean Gabriel-
Marie.Fabulous.6555972. 1994. Compact Disc.
26
ABC Melbourne Showband, “Golden Wedding”, 1976.

11
 Section A

Aside from the major differences described in the Overview, there remain many

subtle variations that Sandilands employs in his rendition of the solo. In bars 12 – 14, Carlson

plays triplets on these figures between the tom-toms while Sandilands stays with the swung

eighth note open rolls, (see fig. 16).

Figure 16.Sandilands' open rolls between tom-toms.

In the rolled repeated section between bars 15 and 20, Sandilands opts to keep this

phrase on the floor tom-tom whereas Carlson goes back up to the rack tom-tom, although on

a closer listening it may be a mid tom-tom but as the recording is old and quality not as clear,

it is difficult to truly ascertain. In this section Carlson accents the rolls with his bass drum

while Sandilands keeps his hi hat/bass drum foot pattern going which gives the listener a

sense of continuity in the background rhythm as we see in figure 17.

Figure 17.Sandilands' tom-tom and foot pattern.

Although probably not his intention, this four-on-the-floor/hi hat pattern acts as a foundation

to the cross-rhythms happening on the floor tom-tom which adds interest for the listener.

Carlson’s bass drum use in the corresponding bars acts only to add to the accenting

happening in the hands rather than to add another sonic layer to that part of the solo.

12
 Section B

Both drummers approach the start of the second section rhythmically the same. The

difference is in the choice of cymbals used for the accented crashes on beat three of bars 23

and 24. Sandilands uses either a 16” or 18” crash cymbal while Carlson uses an 18” or 20”

Chinese cymbal with rivets which he had mounted on the bass drum between the rack tom-

tom and the floor tom-tom. 27 This style of cymbal was very popular in the 1930s and 1940s

with Big Band drummers 28 and can even heard in recordings up until the 1970s, though this

was a rarity by this era. 29

In the penultimate section, bars 27 – 30, both drummers employ cymbals of different

sizes to create timbral interest to the accented cymbal crashes but as Carlson has the addition

of the Chinese cymbal his performance has the added lift. Sandilands and Carlson both

alternate between high and mid pitched cymbals but Carlson adds his Chinese cymbal to

great effect on the accents on beats three and four of bars 28 and 30. Sandilands accents with

his higher pitched cymbal which lacks the extra punch that Carlson’s Chinese cymbal affords.

The final snare drum statement before the band re-enters is similar. As previously

mentioned, Carlson restates a rhythmic motif in the accents in bar 32 which Sandilands

chooses to omit instead opting to repeat the accented pattern of bar 31 in bar 32 and then

employ diminution in bar 33. Sandilands ends his solo differently by accenting a quarter note

on beat three on the snare drum and then a quarter note accent on the crash cymbal on beat

27
Aldridge, Vintage Guide to Drum Collecting, 94.
28
Hugo Pinksterboer, The Cymbal Book [Milwaukee: Hal Leonard Publications, 1992], 60.
29
Gene Lees, Leader of the Band: The Life of Woody Herman [Oxford: Oxford University Press, 1995], 105.

13
 four to finish. The other major difference is Carlson plays a syncopated accented sixteenth

note motif, while Sandilands plays a much simpler figure accenting beats two and four in the

first two bars before doubling this to every beat on bar three, (see fig. 18). Both drummers

play the last four bars of their respective solos straight, as opposed to the swung eighth notes

used in the majority of their solos.

Figure 18.Sandilands' snare drum ending.

Conclusion
In comparing the two versions of the drum solo from Golden Wedding we can see that

the Sandilands recording is saluting the original played by Carlson while adding a personal

touch to the treatment. Sandilands must have recognised that the structure and composition of

the original solo was so well constructed that any drastic rhythmic alteration would only have

diminished his performance.

14
 Appendix 1.
Transcription 1 showing Section A and Section B.

Appendix 2.

15
Appendix 2.

Transcription 1.

16
Appendix 3.
Transcription 2.

17
 Bibliography
Aldridge, John. Vintage Guide To Drum Collecting: Essential Guide For Collectors. Anaheim Hills, CA:
Centerstream Publications, 1994.

“Biography: Chick Webb.” Public Broadcasting Service. 2013.

http://www.pbs.org/jazz/biography/artist_id_webb_chick.htm (accessed May 5, 2013).

“Biography: Frank Carlson.” Artist Direct. 2010. http://www.artistdirect.com/artist/bio/frank-

carlson/412074 (accessed March 30, 2013).

“Blurbs and Reviews.” Naxos Music.com. 2012.

http://www.naxosmusic.com/mainsite/blurbs_reviews.asp?item_code=8.120658&catNum=
120658&filetype=About%20this%20Recording&language=English (accessed April 4, 2013).

Decker, Todd. Music Makes Me: Fred Astaire and Jazz. Berkeley, CA: University of California Press,
2011.

Feather, Leonard. Book of Jazz. New York: Meridian Books, 1959.

—. New Grove Dictionary of Jazz. Edited by Barry Kernfield. New York: The Macmillan Press Ltd.,
1994.

The Century Project: 100 Years of American Music from behind the drums (1865-1965). DVD.
Directed by Daniel Glass. Produced by DrumChannel.com. Performed by Daniel Glass. 2012.

Haid, Mike. “Top 25 Drum Solos of all Time.” Modern Drummer, April 2006: 94-106.

Herd, The Third. “The New Golden Wedding.” Standard Times- The Third Herd (1951-1952). Comp.
Jean Gabriel-Marie. OCM00212. 2003. Compact Disc.

Herman, Woody, and Stuart Troup. Woodchopper's Ball: The Autobiography Of Woody Herman. New
York: Limelight Editions, 1994.

Isserlis, Steven, and Stephen Hough. “La Cinquantaine.” Children's Cello. Comp. Jean Gabriel-Marie.
BIS-CD-1562. 2006. Compact Disc.

Kolosky, Walter. Girls Don't Like Real Jazz: A Jazz Patriot Speaks Out. Cary, NC: Abstract Logix Books,
2004.

Lees, Gene. Leader Of The Band: The Life Of Woody Herman. Oxford: Oxford University Press, 1995.

Orchestra, Chick Webb and his. “Liza (All the clouds fall away).” Jazz Masters: Chick Webb and his
Orchestra. Comps. George Gershwin, Ira Gershwin, & Gus Kuhn. 2011. Compact Disc.

Orchestra, Woody Herman. “The Golden Wedding.” Woodsheddin' With Woody. Comp. Jean Gabriel-
Marie. 6555972. 1994. Compact Disc.

18
Page, Ruby. “Ron Sandilands.” Ruby Page. 2011. http://www.rubypage.com/Ron_Sandilands.htm
(accessed March 29, 2013).

Peters, Gordon B. The Drummer: Man, A Treatise on Percussion. Wilmette, IL: Kemper-Peters
Publications, 1975.

Pinksterboer, Hugo. The Cymbal Book. Milwaukee: Hal Leonard Publications, 1992.

Showband, ABC Melbourne. “Golden Wedding.” The Great Big Band Hits of The 40's. Cond. Brian
May. Comp. Jean Gabriel-Marie. HAM 010. 1976. 33 1/3 rpm Vinyl Record.

“Sing, Sing, Sing (With a Swing).” YouTube.com. 1938.

http://www.youtube.com/watch?feature=player_embedded&v=0NigiwMtWE0#! (accessed
May 2, 2013).

“Songs Of The 1940s.” TSort. n.d. http://tsort.info/music/53gefn.htm (accessed March 30, 2013).

Stacy, Frank. “Archives: Classic Interviews "Herman's Is Finest Ofay Swing Band".” DownBeat.com. 3
January 1945. http://www.downbeat.com/default.asp?sect=stories_detail&sid=1039
(accessed May 2, 2013).

Yanow, Scott. “Biography: Gene Krupa.” All Music. 2013. http://www.allmusic.com/artists/gene-

krupa.mn0000196934 (accessed May 5, 2013).

19