BOOKS

Barnet, Charlie, and Stanley Dance

Those Swinging Years: The Autobiography of Charlie Barnet

New York: Da Capo Press, 1992

         See “The Arrangements and the Arrangers” (pp. 197–203).

Bryant, Clora, Buddy Collette, William Green, Steven Isoardi, Jack Kelson, Horace Tapscott, Gerald Wilson, and Marl Young, editors

Central Avenue Sounds: Jazz in Los Angeles

Berkeley and Los Angeles: University of California Press, 1998

         David Bryant is quoted: “...I went to Westlake College of Music, where a lot of name musicians out of the bands went. There was Chet Baker and Bud Shank, a lot of Tommy Dorsey’s, Duke Ellington’s sidemen, Britt Woodman and John Anderson, Bill Green and Buddy Collette went there. A lot of guys. One of my teachers was Paul Villapeg [sic], who taught harmony and orchestration. As a matter of fact, he got me a gig with Sarah Vaughn and Lucky Thompson...” (pp. 174–75).

(p. 134). [Also see below—Liner Notes, Kirchner, Big Band Renaissance.]

Gitler, Ira

Swing to Bop: An Oral History of the Transition in Jazz in the 1940s

New York: Oxford University Press, 1985

         Barney Kessel is quoted: “ ...the first professional job I ever was with—that was a band that was funded by, and its musical director was Ben Pollack, who had the Chico Marx band, with Mel Tormé and Marty Napoleon in it. George Wettling was in that. Marty Marsala. It was a very good band. Excellent arrangements by Paul Villepigue. We had eight brass, six saxophones, and a vocal group, and it was tremendous...” (p. 25).

Harris, Steven D.

The Kenton Kronicles: A Biography of Modern America’s Man of Music, Stan Kenton

Pasadena, California: Dynaflow Publications, 2000

         Bill Holman is quoted: “...In the late forties, I went to school at Westlake College of Music here in L.A.  A lot of people have gone there: Bill Perkins, Dave Madden and Dick Grove to name a few. Paul Villepigue used to teach at Westlake, and one of his theories was if you have a small ensemble and want it to sound big, don’t spread it out, but close it up. If you put everybody close to each other, you get a bigger sound than if you try to make it fat...” (p. 121).

Kriebel, Robert C.

Blue Flame: Woody Herman’s Life in Music

West Lafayette, Indiana: Purdue University Press, 1995

         Describes the battle of the bands between Woody Herman and Charlie Barnet at the Rendezvous Ballroom, Balboa Beach, on July 30, 1949, with arrangements for Barnet’s band by Villepigue and others (p. 143).

Mirtle, Jack, compiler

The Music of Billy May: A Discography

Greenwood Press: Westport, Connecticut, 1998

         On crediting Villepigue as the arranger for Lullaby of Birdland (recorded by Charlie Barnet in 1954), according to Mirtle’s correspondence with Billy May in 1997: “...Lullaby of Birdland...is credited to May by devout Barnet discographers. May is adamant it is not his, and credits the arr. to Paul Villepigue” (p. 369).

Schuller, Gunther

The Swing Era: The Development of Jazz, 1930–1945

New York: Oxford University Press, 1989

         In a footnote on the work of vocalist Herb Jeffries: “A much more creative and mature Jeffries can be heard, for example, on his 1946 recordings (on the Exclusive label) with Buddy Baker's Trombone Octet in first-rate modern arrangements by the late Paul Villepigue that are well worth rediscovery and study...” (p. 130).

Villepigue, Paul, editor

New Popular Song Chord Progressions, No. 1: For the Arranger and Players

of All Instruments

New York: Edwin H. Morris and Company, [1948?]

         Chord progressions for ten popular songs. Only one copy of this book is known to exist; it is housed in the Library of Congress, Washington, D.C.

         The publishers’ foreword: “To meet the rising demands of progressive young musicians for new ideas in old and new popular music, we present these modern harmonic arrangements scored and edited by Paul Villepigue. He has had sixteen years of experience in the popular music field, scoring for Boyd Raeburn, Horace Heidt, Gene Krupa, Vaughn Monroe, Jimmy Dorsey and Charlie Barnet and is also a teacher of Modern Harmony and Arranging. —The Publishers”

         Villepigue’s preface, “About This Idea”: “These progressions have been worked out so they ‘fit’ the composers’ original melodies. Naturally, in improvisation where the melody is seldom used, there are many more substitute and alternating chord potentialities. Although the notated bass part may be written or played ‘as is’, it is primarily intended to show a smooth harmonic progression and to more easily indicate chords in which the tonic is not in the bass, such as Dm7 chord with the bass on G. Wherever possible, repeated phrases or progressions have been harmonized differently each time they occur in order to show the great variety that can be used. Some types of scoring and playing, however, require more harmonic repetition with less variety. All these changes are subject to your own good taste. —Paul Villepigue”

ARTICLES

In chronological order. Articles marked “Clipping, source unknown” were found among the Villepigue family papers and, as yet, have not been identified.

1935

“Three Chanute Band Boys Honored”

Chanute Tribune, December 7, 1935

         Photo caption: “Three Chanute high school students, Dean Davis, Herbert Waite and Paul Villepigue (in the photo left to right) have been chosen as a part of a group of 180 musicians to participate in the third annual All-Kansas High School clinic band....The 180 members were chosen from a list of 960 applicants and represent more than 50 Kansas towns....Villepigue [plays] the clarinet...”

1941

“Brown-Villepigue” [by Martha Villepigue, society editor and mother of the groom]

Chanute Tribune, March 31, 1941

         Wedding announcement for Maxine Virginia Brown and Paul Fabian Villepigue, married on March 30: “...The past three years, Mr. Villepigue has been working with dance orchestras and is now with Ike Ragon and his orchestra from Chicago. They are on location in Wichita. Villepigue plays the clarinet, saxophone and does the arranging for the orchestra. He is a graduate of the Chanute high school. Mrs. Villepigue [his bride] will travel with the band...”

1946

“Bothwell Trains before Tour”

Down Beat, May 20, 1946: 2

         Photo caption: “New York—Lots of this rehearsal stuff has been going on among Johnny Bothwell and crew and there is more to follow as the band will soon cut out on the road for GAC. That’s arranger Paul Villipigue [sic] prepping vocalists Claire Hogan and Don Darcy while the pleased Johnny looks on. Bothwell recently recorded more sides for Signature with Claire Hogan, Dave Lambert and a vocal group featured.”

“Diggin’ the Discs with Mix” [by Michael Levin]

Down Beat, May 20, 1946: 16

         Record review of four Johnny Bothwell Orchestra sides on the Signature label, of which three are Villepigue arrangements: Strange Feeling, 22 Steps From The Corner, and I Cover The Waterfront.

“Johnny Bothwell”

[Clipping, source unknown], June 22, 1946

         Review of the Bothwell band’s New York debut at 400 Restaurant, June 13, 1946: “...The Bothwell band is careful about its dance beat, extra careful about its dance tempos. That’s important. Another essential factor is the Bothwell library, an up-to-date set of books, replete with familiar plug items, sensibly light on ponderous originals and well-balanced as to ballads and novelties....Arrangements by Paul Villipigue [sic] are strictly 1946, and provide a solid foundation on which Bothwell can build...”

“Strictly Ad Lib” by “the Square”

Down Beat; July 1, 1946

         “...Paul Villepigue, Bothwell arranger, was a little embarrassed when he discovered he had turned in an arrangement combining both the Le-Ba and Re-Bop versions of that well-known riffer...”

“Bothwell Leads Boff Well Combo” by Michael Levin

Down Beat, July 15, 1946: 2

         Review of the Bothwell band’s New York debut at 400 Restaurant: “‘Mad Altoist’ Has Quiet, Chordful Ork with Ideas....It’s danceable, colorful music with Bothwell’s brilliantly-toned reed work leading a sax section with no uncertainty in its phrasings. Arrangements, done competently by Paul Villepigue, have lots of harmonic color, resonance, and no tired riffs...”

“Johnny’s Sleepy Alto” by Dixon Gayer

Band Leaders and Record Review, vol. 3, no. 7 (October 1946): 25

         Photo caption: “Johnny Bothwell’s moody saxophone playing can be both disturbing and soothing at the same time. His skillful, quick fingering and expert reeding coax such a wide, colorful variety of notes and quick-changing tempos out of the sax that the effect is almost startling. It requires masterful arranging to achieve these effects. Above: Johnny and arranger Paul Villepigue (left).”

1947

“Metronome’s All Stars (1946 edition): Arrangers”

Metronome, January 1947: 25

“Nero Fiddles with Jam”

Music Business, vol. 3, no. 1 (January 1947): 24

         On the start-up of Nero Music, Inc.: “...Determined to pursue the idea of a corporation owned and operated by professional musicians, the Board of Directors reads as follows: President, Paul Nero; 1st Vice President, Paul Villepigue, well known composer-arranger...The first recording session of this fabulous organization took place late last month...Four sides were cut...All arrangements were made by Paul Villepigue, who has helped along the success of Gene Krupa, Vaughn Monroe, Alvino Rey and other top-flighters...These records will be released this month...”

“Musicians Hold Session”

Down Beat, January 29, 1947: 12

         Photo caption: “New York—First recording session of Nero Music, a firm owned and operated by professional musicians, is seen above. In the usual order: Izzy Gusikoff, the back of Dave Schwartz’ head, Buddy Stewart in his lucky shirt, Paul Villapique [sic] making like a conductor, Paul Nero taking a short nap, and Eric Siday’s left hand. The outfit, all well known longhairs, cut four sides, Was It Infatuation?, Has Anyone Told You?, Kilroy Really Was Here and an oboe solo, Prelude And Allegro.”

“Nero Pub Firm Has New Idea”

Down Beat, January 29, 1947: 12

         On the start-up of Nero Music, Inc.: “New York—New angle to publishing and recording started off here last week with the formation of Paul Nero Music Inc., a pub-recording firm headed by the Pittsburgh violinist now working at Mutual, with violist Dave Schwartz (ex-Cleveland Orchestra, Tex Beneke, and now Mutual Symphony section head), and arranger Paul Villapigue [sic] as officers...”

“Buddy Stewart”

Down Beat, February 12, 1947; 21

         Record review of two sides on the Nero Music label, both of which are Villepigue arrangements for vocalist Stewart: Kilroy Really Was Here and Was It Infatuation: “Number of unusual things about this record: it’s the first effort by Paul Nero’s new record firm. It includes Nero and a bunch of other fine string men: Eric Siday, Dave Schwartz, Izzy Gusikoff and Doc Goldberg. The arrangements were by Paul Villepigue, and he is listed on the vinylite label, as is engineer Rudy Steiner. The company is owned by these gentry, with everybody getting a piece...”

1948

LINER NOTES

Carrière, Claude

Wardell Gray: Vol. 1: 1944–1946

CD, Masters of Jazz, 1999

         On the recording of Villepigue’s 1951 composition Thrust: “...Wardell’s last date as a sideman was in a band put together by Joe Swanson. This rare, fascinating session seems to have been made around 1950, judging by the ensemble sound and Wardell’s own firmer tone and greater authority, as evinced in his superb, long solo on Thrust...”

         [Note: Carrière created confusion for discographers when he wrongly assigned the year 1946 to this session in the CD’s discography, presumably to place it within the 1944–46 range of this volume. Yet in the next breath, he wrote the conflicting date “around 1950” in the text of his liner notes. Neither of Carrière’s dates is correct; Thrust was actually recorded and released in late 1951. Also see below—Liner Notes, Isoardi, Central Avenue Sounds.]

Discovery Records [liner notes possibly by Albert Marx]

Dancers in Love: Ike Carpenter Orchestra

LP, Discovery, 1949

         Discovery’s 1949 release (using false Discovery matrix numbers) of the 1947 demo recordings of Carpenter’s 11-piece band with arrangements by Villepigue: “...Variety said, ‘Outfit has a style patterned on Ellington, and by some miracle actually makes eleven musikers sound like 20.’...Billboard’s review...,‘it will appeal musically as well as numerically for although instrument toters don't quite make a dozen, final product off-times sounds like it comes from a sixteen or eighteen piece aggregation. Reason for this is the thoughtful approach to band’s instrumental balance and voicing...’

         “Flamingo: Arranged by Paul Villepigue for only nine men and Ike (just one trumpet) has a fine resonant vocal by Discovery’s own David Allen [sic] with a piano solo by Ike, very pretty in its bell-like quality and interesting phrasing...

         “Moon Mist: The Paul Villepigue arrangement of Ike’s lovely radio theme was composed by Mercer Ellington, Duke’s son—and features, after the leader’s piano, a muted trumpet by Gerald Wilson, the distinctive lead-alto sax of George Weidler, and a wonderful Ted Nash clarinet-led voicing to finish.

         “Take the ‘A’ Train: Another Paul Villepigue special of a great standard swings easily through Gerald Wilson’s muted trumpet, Lucky Thompson’s tenor, and a wonderfully long facile phrase at the conclusion of Ike’s piano solo.

         “Chelsea Bridge: Paul Villepigue’s arrangement of the famous Billy Strayhorn tone-poem is built around a typical Ellington trio voicing, Weidler’s alto and the big rich baritone sax of Joe Cook [Koch], an unusual instrument for sweet solos. The thrilling climax leads into Ike’s piano with the final sax features split by Lucky Thompson’s tenor and a Ted Nash alto solo...” 

Fega, Mort

Charlie Barnet and His Orchestra: Swell and Super

CD, Drive Archive, 1996

         On the writers for Barnet’s short-lived bop band of 1948–49: “The book of arrangements was filled with the works of such new writers as Dave Matthews, Pete Rugolo, Tiny Kahn, Dennis Farnon, Paul Villepigue, Manny Albam, and Andy Gibson...”

Friedwald, Will

The Mel Tormé Collection, 1944–1985

CD set, Rhino Records, 1996

         Tormé is quoted on Villepigue’s work in the late 1940s: “...Paul was a master arranger, and he died way, way too young. But he did several arrangements for me, particularly on Capitol, that were absolutely marvelous. He inspired me to start learning to arrange for the band—for the instruments—and I’ll never forget him for it....”

Isoardi, Steven

Central Avenue Sounds: Jazz in Los Angeles (1921–1956)

CD set, Rhino Entertainment, 1999

         On Westlake, Villepigue, and the Joe Swanson band in 1951: “During the post–World War II period many jazz musicians enrolled at the Westlake College of Music in Los Angeles and studied harmony and orchestration with teachers such as Paul Villepigue, who had acquired a reputation writing for jazz artists like Lucky Thompson. Some of these ‘students’ were organized into a rehearsal band by saxophonist Joe Swanson, which was then filled out with other stellar members of the Central Avenue scene. They...cut a number of sides for one of John Dolphin’s labels, including ‘Thrust,’ which shows the modernist side of Villepigue’s writing...” [Also see above—Liner Notes, Carrière, Wardell Gray.]

Kirchner, Bill

Big Band Renaissance: The Evolution of the Jazz Orchestra—The 1940s

and Beyond

CD set, Smithsonian Institution, 1995

         On Villepigue’s writing for Charlie Barnet’s bop band of 1948–49: “...One of the band’s most interesting recordings was Eugipelliv, the title obviously the backward spelling of its composer’s surname. At its core a blues in G-minor, the piece is an amalgam of Ellington-like saxophone scoring (led by the leader’s soprano), Latin rhythmic elements, and Villepigue’s considerable originality. Barnet also recorded Villepigue’s lovely ballad Lonely Street, but what could have become a major writing career was tragically cut short in 1953 when Villepigue took his own life at the age of 33...”

Middleton, Tony

Ike Carpenter and his Orchestra: Dancers in Love

CD, Jazz Band, 2002

         “...The style of the band was based on Carpenter’s admiration for Duke Ellington’s music. With thoughtful voicing [and] carefully written arrangements, his ten musicians sounded like a much larger ensemble and credit is due to arranger/composer Paul Villepigue’s creative writing for this effect...”

Morgenstern, Dan

Whatever Happened to Johnny Bothwell?

LP, Bob Thiele Music, 1974

         “...In the spring of ’46, Bothwell signed with General Artists Corp. (GAC) and debuted a big band with a book written by Paul Villepigue—a gifted musician who also wrote for Charlie Barnet (Lonely Street)...”

Norman, Gene

Bob Keene and His Orchestra: Big Band Bash

10" LP, Gene Norman Presents, 1952

         On the writers hired by Keene [aka Keane] for his new band: “...he called upon the creative young arrangers who were literally shaping the new course of popular American music. (Check the very impressive arranger credits.)...” Arrangers in order on the label: Paul Villepigue, Bill Holman, Gene Roland,  Nelson Riddle, Johnny Thompson, Shorty Rogers.

Pujol, Jordi

Maynard Ferguson, His Orchestra and Octet, 1950–1954: Band Ain’t Draggin’

CD, Fresh Sound Records, 2005

         On Love Locked Out, Villepigue’s arrangement for Ferguson’s first recording session as bandleader in 1950: “...arranged by the talented Paul Villepigue, one of the most innovative arrangers and composers of that period...”

Robertson, Alastair

Johnny Bothwell and His Orchestra: Street of Dreams, 1946

CD, Hep Records, 1997

         On the start-up of Bothwell’s new band: “...In February 1946, he set about forming and rehearsing a regular orchestra, and commissioned some new arrangements from Paul Villepigue who went on to some recognition with Charlie Barnet’s Capitol orchestra...”

Schoenberg, Loren

Charlie Barnet: The Capitol Big Band Sessions

CD, Capitol Records, 1998

         On the arrangements for Barnet’s new orchestra with string section in 1950: “...There are also arrangements by...Paul Villepigue and Johnny Richards, who bring the band perilously close to Kentoniana and Hollywood...”

         [Note: The attribution to Johnny Richards is an error; he is not included on this CD. All charts for the session of December 4, 1950, were written by Villepigue.]

OTHER PRINT SOURCES

American Operatic Laboratory, Inc.

Official Bulletin, 1950–1951

         Faculty list for the American Operatic Laboratory, 4707 Elmwood Avenue, Los Angeles. Villepigue is listed as one of the instructors of Music Theory and Composition: “Paul Villepigue / Arranger for many leading dance and radio bands, including Bob Chester from 1942 to 1943; Charlie Spivak and Horace Heidt in 1943; Gene Krupa from 1945 to 1946; Alvino Rey in 1946; Vaughn Monroe, Jimmy Dorsey, Charlie Barnet in 1948;

Benny Goodman in 1949. Arranger for many other organizations, including army bands

(at Ft. Devons [sic], Mass.), American Broadcasting Company in New York, Modern Records, Exclusive Records, Capitol Records, Victor Records. Teacher of arranging in

Los Angeles since 1947” (pp. 13, 62).

Chanute Junior College

The Panther 1938

         Yearbook of Chanute Junior College, Chanute, Kansas. Villepigue, then age 19, is identified in a photo caption for the variety show orchestra, where he is seated holding his clarinet (p. 58).

Ulanov, Barry, Paul Nero, and Paul Villepigue

Was It Infatuation

Nero Manuscript Series

New York: Nero Music, 1946

         “A Paul Villepigue Arrangement” with lyrics by Ulanov and music by Nero. Folio cover with loose sheet music in individual parts for 16-piece ensemble: 3 trumpets,

3 trombones, 5 saxophones, piano, guitar, bass, drums, and violin, including lyrics for “optional girl vocal.” Printed on the back of the folio cover is a catalogue list of other titles in the Nero Manuscript Series; however, only Was It Infatuation is known to exist. Probably the other titles were planned but never published. [Also see below—Villepigue, What Every Young Arranger Should Know.]

Villepigue, Paul

What Every Young Arranger Should Know

New York: Nero Music, n.d.

         Probably unpublished; no copies are known to exist. This title appears on the catalogue list of publications announced by Nero Music, Inc., circa late 1946. Villepigue’s handbook of advice for young arrangers is one of seven titles listed in the Educational Series (“For Young Musicians Who Plan to Make the Music Business Their Career”). The other six titles are What Every Young Drummer Should Know by Shelly Manne; ...Saxophonist... by Harold Pelsinger; ...Clarinetist... by Bernard Portnoy; ... Trombone Player... by Robert Boyd; ...Fiddler... by Paul Nero; and ...Bass Player... by “Doc” Goldberg. Although planned for publication and advertised, these books probably were never published. No copies of any of these titles are known to exist.

Westlake College of Music

Westlake College of Music, 1948-1949

         Faculty and curriculum lists for Westlake College of Music, 2021 West Third Street, Los Angeles. For the school year 1948–49, Villepigue is the only arranging instructor listed: “Paul Villepigue (Arranging) / Teacher of modern orchestration while in the service at Band Training Unit, Camp Lee, Virginia. Mr. Villepigue has been active as an arranger with many of the familiar names in the profession, including Boyd Raeburn, Mitchell Ayers, Sonny Dunham, Charlie Spivak, Gene Krupa, Buddy Rich, Charlie Barnet, Jimmy Dorsey, Jerry Wald, Frankie Carle, Ted Fio Rito, and Vaughn Monroe” (n.p.).