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The legendary composer, music educator and two-time Grammy Award winner played selections from his influential "Threshold" and "Aurora" albums, and between songs talked about his music philosophy and big band history. At the end of his near two-hour set he received a standing ovation.

The outdoor lunch breaks were a unique treat. Each day a jazz band from a local Southern California college played at a sun-splashed poolside concert. Those bands were superb in quality and provided a wide variety of jazz music. For example, at the October 11 luncheon concert the highly talented Cal State Northridge 'A' Jazz Band directed by John Daversa played the music of Thad Jones and Mel Lewis. Their well-received hour-long performance had both excellent ensemble and solo work.

Every year Poston presents a special event on the first day of the concert. This year on October 10 he featured a “Woody Herman 100th Birthday Celebration.” It started with a panel discussion about Herman. The panel was comprised of Herman alumni and moderated by Bill Clancy, author of "Woody Herman: Chronicles of the Herds." Next came the world premiere of Jazzed Media record label founder and president Graham Carter’s new film, "Woody Herman: Blue Flame - Portrait of a Jazz Legend." The 110-minute film that covers both the personal and professional life of Herman in striking detail received an enthusiastic response from the viewing audience. A small-group jam session followed the film premier with eight Herman alumni playing. The celebration closed with a concert by the sixteen-piece Woody Herman Alumni Orchestra conducted by Frank Tiberi. Music from the many Herds that Woody organized during his fifty-one year career was featured.

On October 14, Groovin’ Hard gave well-deserved recognition to the legendary Tonight Show Band formed by Johnny Carson when he took over "The Tonight Show" from Jack Paar in 1962. Skitch Henderson was the band’s director until 1966 when he left to be replaced by Milton DeLugg. A year later Doc Severinsen took charge and remained director until 1992 when Carson retired and the band was reformed down to a smaller size by Branford Marsalis. Saxophonist Tommy Newsom was frequently the band’s substitute director, filling in for Severinsen when he was absent from the show.

The seventeen-piece Tonight Show Band was one of the all-time great big bands. In his book "Lucky Drummer," the band’s drummer Ed Shaughnessy wrote about how Count Basie admired the band and frequently told him so. He said that one time the owner of a club called the Americana on 36th Street in Manhattan told Basie he wanted to book him with the Tonight Show Band. Basie told the owner, “You want me to play against that band?”

The day started with a film showing of rare clips of the Tonight Show Band during its time in New York (1962-72) and California (1972-92). The clips featured great musicians Pete Christlieb, Conte Candoli, Clark Terry, Snooky Young, Doc Severinsen in his early days in the trumpet section, and a guest appearance by Buddy Rich and his orchestra. Carson loved to play the drums since his childhood in Nebraska. There was a clip showing him playing brushes on a tin pail accompanying Benny Goodman playing clarinet.

Next came the Tonight Show Band Reunion, a concert by a roaring fifteen-piece band consisting of mostly alumni from the original band. High-note trumpeter Chuck Findley led the band that was driven by swinging drummer Jeff Hamilton, who sat in for Ed Shaughnessy. At the opening note of the first song, “Johnny’s Theme” (The Tonight Show theme song), the audience erupted in applause. An unquestionable concert highlight was tenor saxophonist Ernie Watts featured on "Body and Soul.” The band played two songs, “April in Paris” and “Take the 'A' Train”, from their album "The Tonight Show Band, Vol. 2." The album won a 1987 Billboard Award for Top Contemporary Jazz Album and “Take the 'A' Train” won an '87 Grammy for the Best Instrumental Jazz Arrangement. Bill Holman did the arrangement.

After the concert, there was a panel discussion about the Tonight Show band. The panel consisted of past band musicians along with Jeff Sotzing, Johnny Carson’s nephew and President of the Carson Entertainment Group, and former band music supervisor Don Sweeney who wrote "Backstage at The Tonight Show" about his near twenty-year association with the program. Los Angeles radio personality and musicologist Ken Borgers was the moderator. Two themes evolved from the discussion. First, the musicians said that playing on "The Tonight Show" was a wonderful experience and the highlight of their musical life. Second, all panel members expressed unanimous admiration for Carson, whom they fondly called “The Chief.”

Many Carson stories were told. Among them, Johnny was generous in promoting his band members’ careers. He would usually mention where they were playing locally in his monologues. Also, there was a bar for the show and Carson often would stick around afterward and swap stories with the musicians at the bar. Finally, Carson was proud of the band and consistently expressed that pride on his show. With a twinge of nostalgia, he said on his last show in May 1992 that this was probably the last time a swing band would appear regularly on television. He was right.

Ken Poston has been conducting jazz conferences since 1991, starting with his "Stan Kenton: Back to Balboa" event. These annual symposiums have provided outstanding jazz entertainment and academically furthered the cause of jazz research, adding to the archives of his Los Angeles Jazz Institute. The Poston events are a must for enthusiasts of large-ensemble jazz. To learn more about the Institute’s past big band and jazz programs, visit www.lajazzinstitute.org.

Younger people ask me that question all the time. My usual answer is 1935 to 1945. That's correct as far as it goes, because during that period there were well over 1,000 professional bands playing at ballrooms around the country. One hundred or more had national prominence due to network radio and phonograph records.

But it's been brought home to me lately that the Big Band Era didn't stop abruptly at the conclusion of World War II. I've been introduced to a friend of a friend who has a large collection of LPs from the 50's through the early 80's. Many are small group jazz, but a surprising number are presentations by big bands. There are some familiar names --- Basie, Herman, Hampton, Kenton, Ellington, all of whom led big bands long after that form of music was written off as just a thing of the past. I'm in the midst of developing two programs devoted to these latter-day bands, plus some others that weren't in operation during the ten-year period I referenced above --- including Maynard Ferguson, Quincy Jones, Bill Holman, Conrad Gozzo and one leader whom I had never heard of before, Les Hooper.

I've heard from Tom McLaughlin, leader of the Unforgettable Big Band (see below). He was kind enough to supply a photo of the presentation of the street sign to members of the Les Brown family.

The Brown family includes Les's daughter Denise (red vest), son Les Jr. (dark sports coat)
and grandnephew "Swampy" Marsh (green sweater).

Tom also provided photos that I hadn't had access to because my emcee duties required me to be behind the scenes during some performances:

Vocalists Tonia Grubb and James Scofield. In background: Leader Tom McLaughlin on sax,
Christine McEachrin on guitar and Brent Downs on drums.

The much anticipated Les Brown weekend in Tower City, Pennsylvania turned out to be everything I had hoped it would be – and then some. The occasion was a celebration of the 100th anniversary of the birth of this esteemed bandleader. Joel Guldin, overall organizer of the event, outdid himself. It was nonstop entertainment from the Friday night dinner-dance through the eight-hour extravaganza held Saturday afternoon in the auditorium of the area high school.

I was privileged to serve as master of ceremonies for the Saturday festivities. After greeting the audience, I read a beautiful letter from Doris Day in which she reminisced about her days with the Les Brown band and expressed her love and admiration for her former boss.

Honored guests included Les Brown, Jr., his sister Denny and other members of the extended Brown family. Denny's son, "Swampy" Marsh, was on hand to sign autographs for a long line of youngsters who thrive on his television cartoon program, Phineas and Ferb. I've never seen it but understand it's the highest-rated program on the Disney Channel.

Appearing on stage were the Unforgettable Big Band of York, Pennsylvania, the Elizabethtown College Jazz Band and three local bands that I'll fill you in on in a moment. Also on stage were a trio from New York, the Manhattan Dolls, who treated the audience of 200 to a medley of songs including hits associated with the Andrews Sisters.

Three former members of the Les Brown band were present, each with his chosen instrument. Dave Pell brought his tenor sax. Jack Redmond had trombone in hand, while Don Clarke brought along his trumpet. At the Friday evening dinner dance, held at Kevin's Place in nearby Lykens, all three sat in with the band known as After Hours. Les Brown, Jr. got into the act as well, demonstrating his vocal skills on a run-through of Mack the Knife and taking over on the drum set for one selection.

The three local bands included the Williams Valley "Cool Blue" Jazz Band, made up of students in grades 7-12; the Town of Renown Alumni Jazz Band, comprised of local musicians from high school classes of 1976 to 2009; and the Williams Valley Elementary Jazz Ensemble. Did I say "elementary"? Indeed I did. Joel Guldin teaches music at the school. His fifth-graders were up on stage to play a musical set that included their interpretation of Les Brown's most memorable composition, Sentimental Journey. It had to be a big thrill for these kids to find Dave, Jack and Don sitting in with them during their concert.

As emcee, it was my responsibility to hold the audience's attention while one band left the stage and another set up. This was accomplished by interviews with Les Brown, Jr. and the three ex-sidemen. At one point members of the Brown family were called on stage for a special surprise: The street that runs alongside the home where Les was born 100 years ago will henceforth be known as Les Brown Lane. Local officials brought along the street sign to prove it, but it was hard to get a good photograph because of the reflective paint on the sign. We'll just have to return to Tower City to see what it looks like when it's put in place.

My wife Tish and I arrived on Thursday afternoon and left Sunday afternoon. We agreed it was a marvelous outing and already have it on our calendars to attend the bicentennial.

Below: Birthplace home; Historical marker; David interviews Les Brown, Jr. on stage.

Above, left to right: Joel Guldin, Dave Pell, David Miller, Les Brown, Jr., Don Clarke, Jack Redmond.

Sometimes I wonder how people manage to keep up with the fast pace of technology. Over the past few weeks I've been busy converting my VHS tapes to DVD. So far there have been over 100 conversions with another 25 or so still to go --- material such as "The Glenn Miller Story" and "The Benny Goodman Story." Now this morning I read in the daily paper that Walmart will digitize people's DVDs for two dollars apiece. DVDs, the article states, are declining in popularity. Wish they'd told me that before I went to the trouble to burn all those discs!

I've been catching up on my reading. The July 30, 1947 issue of Down Beat has several articles of interest. I've learned that Jimmie Lunceford has died while on a tour of the Pacific Northwest. He collapsed in a Seaside, Oregon music store while autographing records for his fans. He died in the ambulance transporting him to a local hospital. The band played their gig that evening under the direction of reedman Joe Thomas, who had been with Lunceford's band for the past 14 years.

Guy Lombardo is indignant when he hears his critics downplaying his band. "What are you talking about?" he says. "My band doesn't have standards? Of course we do. You don't see us playing tunes like Chi Baba Chi Baba, do you?"

Taft Jordan and Wilbur DeParis have left the Ellington band. Seems that the Duke felt some belt-tightening was in order. He asked his sidemen to take a salary cut. Taft and Wilbur said "no thanks" and struck out on their own. Both formed small jazz groups.

Peggy Lee and Woody Herman are going to combine their talents on a weekly program on CBS. Woody will act as emcee and do occasional vocals. Peggy will be backed by a band led by her husband, Dave Barbour.

Rose Murphy, the "chee chee gal" is coming to Cafe Society Downtown, replacing pianist/composer Mary Lou Williams. Skitch Henderson is starting a gig at the Cafe Rouge of the Pennsylvania Hotel.

There's so much news to report that I'll put together a one-hour episode of "Swingin' Down the Lane" based on this issue of Down Beat. Why keep all this late news to myself?

This morning I completed the 58th in a series of Desert Island episodes in which I ask people to name the recordings they'd like to have with them if perchance they were stranded in the middle of the ocean. Roger Marks of Carlsbad, New Mexico has come up with a super list, balanced between hot instrumentals, smooth ballads and amusing novelty songs --- all from the mid-20th century. It's great fun to put these programs together because it affords the opportunity to see what other big band fans treasure.

We have one more such episode scheduled for late May. I would welcome more lists for consideration in future broadcasts. It's easy to do --- just jot down up to 25 favorite recordings and e-mail them to me. Typically about 16 selections can be included in our one-hour program.