BILL HOLMAN - ARRANGER

Willis Leonard Holman was born on 2 I st May 1927 in Olive, Orange County, California, but shortly afterwards the family moved to the more spacious Santa Ana district where Bill attended the local high school. He wasn't especially ardently interested in music until the school band were short of clarinet players and Holman was induced to learning the instrument by the school tutors. He constantly listened to the radio absorbing the different styles of players and bands especially the arrangements. He tried desperately to emulate the various styles even formed his own group. Bill found he could write simple lines but nothing too intricate at this stage as he was very young and inexperienced. After all, these were his formative years.
Feeling disenchanted Bill enlisted in the navy at the age of 17 in 1944. Many musicians (leaders and sidemen) were already in the services so Holman surmised that he could combine his interest in engineering and music, whilst serving his country at the same time. On being demobbed in 1946 Bill enrolled at the University of California where he embarked on a two-year engineering course which would stand him in good stead should music prove not to be his vocation. Nevertheless, Holman decided to strive for a music course and registered at Westlake College in 1948.
The school was a predecessor of the Berklee School of Music in Boston, Massachusetts. Whilst at Westlake, Holman met arranger, composer Dick Grove (who now has his own music school in Los Angeles). Another student who was to become very well-known, was tenor saxophonist Bill Perkins. There was an immediate rapport between Perkins and Holman. Both had taken courses in engineering. Holman was now also playing tenor saxophone and both enjoyed the more advanced type of orchestration.
For several months Holman had studied under the eminent arranger, composer, Russ Garcia who specialised in counterpiont of which Bill was especially interested, and has continued with this type of orchestration throughout his musical career as an arranger and composer. The next step was to gain experience both as an arranger and soloist. He was invited to join pianist Ike Carpenter's band who was a respected musician and had vast experience with the bands of Johnny 'Scar' Davis and Boyd Raeburn.
Bill wrote a few arrangements for Carpenter but his stay was of short duration. When Charlie Barnet reached Hollywood in the autumn of 1950 he requested Holman to join his band as second tenor saxophonist (he played first tenor later) and possibly write arrangements. A couple of tele-transcriptions were featured with Charlie Barnet's orchestra in which Bill Holman (tenor sax), Bob Dawes (baritone sax), Dave Wells (trombone), and Claude Williamson (piano) all soloed. The titles performed were 'Skyliner' and 'Cherokee'.
Whilst Bill was touring with Charlie Barnet in 1951, Gene Roland a trumpet player and arranger previously with the Stan Kenton orchestra, submitted to Kenton some arrangements Holman had written at Westlake, which Roland thought Kenton might appreciate, although rather different to the Kenton sound generally.
On hearing the demonstration disc of Holman's arrangements, Stan asked for Bill's telephone number and shortly after contacted him. And although Stan was looking for new arrangements, he was really interested in Bill Holman as a lead tenor saxophone player especially as Bob Cooper had just left the Kenton orchestra.
Holman went along to Melrose studios in Hollywood to audition for Kenton, and told Stan point-blank that he would only consider joining the band providing he could write the arrangements in his own style. Stan agreed. Shortly after the summer of '52, Kenton suggested to Holman that he would like him to write a piece featuring the work of high-note trumpeter Maynard Ferguson and guitarist Sal Salvador. Quite an unusual combination thought Bill, but it can be done using counterpoint. A brilliant piece did emerge with the appropriate title, 'Invention For Guitar And Trumpet'. This was included in the Creative World album New Concepts of Artistry in Rhythm [ST 10021. It was also heard later in the film, Blackboard Jungle, 1955.
Whilst appearing on tour with the Kenton band in September 1952 Bill, along with other members, recorded Johnny Richards 'Prologue Suite (This is an Orchestra)' where every member is introduced by Stan (Creative World Neu, Concepts, ST 1002). The following year, 1953, Holman wrote an arrangement of Harold Arlen/Ted Koehler's 'I've Got A Right To Sing The Blues' which featured the vocal of the ebullient trombonist, the late Frank Rosolino-from the Fabulous alumni of Stan Kenton, Creative World, ST 1028.
Despite the band's heavy touring schedule Bill afforded himself the time to write a superb composition which would not feature any solos whatsoever, just the orchestra in its entirety. The piece was called suitably 'Theme and Variations'. It was an enormous success and the. Kenton followers requested it wherever the band played.
'Have A Havana', spotlighting trumpeter Sam Noto, from the Showcase album Creative World ST 10261 was another favourite with the enthusiasts. The orchestra often travelled under hazardous conditions. Bill remembers on one occasion they were travelling in a mountainous area of Idaho where they encountered some very icy patches. The cars in which they were travelling started to speed uncontrollably and finally ended upside down with members crawling out of the windows.
On another occasion the band were travelling in a snowstorm in New Mexico, near the Rocky Mountains when the petrol ran out. Eventually someone spotted a State Highway Department sub-station with a garage for trucks. Bill states, they observed some petrol pumps but there didn't appear to be anyone around, so he knocked on the door, no-one appeared so they filled up with petrol. "We had barely driven down the road when a guy from State Highway appeared with a shovel and pitchfork. Stan politely got out of the car and tried to explain. The guy said he'd contact the Sheriff, but we learned later that he hadn't bothered."
One of the most memorable occurrences was the European trip of 1953, Aug-Sept. when Bill supplied some excellent compositions and arrangements, especially 'In Lighter Vein', for alto saxophonist Lee Konitz and the very swinging 'Zoot', a feature for tenor saxophonist Zoot Sims [Showcase, Creative World ST 10261].
Everywhere the band toured, be it Dublin, Paris, Copenhagen, Hamburg, Switzerland, etc., the band with its outstanding array of soloists and arrangers were a success with the audience. Stan requested Bill to write some new arrangements on old standards. He obliged with 'Stella By Starlight' a vehicle for altoist Charlie Mariano, 'Yesterdays' for Bill Perkins (tenor sax), 'Cherokee' for alto saxist Lennie Niehaus, 'I've Got You Under My Skin' featuring trumpeter Stu Williamson. The tenor saxist Dave Van Kriedt and alto saxist Charlie Mariano also took solos.
The lovely standard Bob Haggart's 'What's New' was again a feature for several soloists: Bill Perkins (tenor sax), Sam Noto (trumpet), Lennie Niehaus (alto sax) and Kent Larsen (trombone). [Title of the album: Contempomry Concepts, Creative World, ST I 0031.]
Holman was now writing extensively for the Kenton band especially originals such as 'The Opener' featuring Sam Noto, Charlie Mariano, and Frank Rosolino. The exciting 'Kingfish' featured Don Bagley (bass), Bill Perkins (tenor sax ), (trumpet) and Stu Williamson, Dave Schildraut (alto sax), [Showcase, Creative World ST I 0261.
Wanting a change of scene Holman left the Kenton organisation and freelanced around California during 1956. He joined colleague Conte Candoli's quintet, played many gigs and recorded an album under the tide West Coast Wailers on the Bethlehem label. Around this time Bill collaborated with his friend drummer Mel Lewis in another small band setting. This gave Bill the opportunity to write material for this quintet as well as to perform on the tenor saxophone more freely.
When the Charlie Barnet band were once again in the Hollywood area, Barnet required Holman to re-join the saxophone section and write and/or arrange more material. Bill responded with 'Blue Rose', 'Lumby', and a new version of 'Lemon Twist' [all on Verve MGV 20401.
Bill wasn't really interested in film studio work, however he did succumb to writing a score for the movie Swamp Women in 1956. That same year Holman recorded with Shorty Rogers small band the Giants. The title 'Clickin' With Gas' on the Atlantic label No. K50481.
One of Bill's most exciting times of his career was when he was invited to write for the newly formed Maynard Ferguson band of '57. In fact everyone wanted Holman's work both as an arranger and composer. Med Flory, a fine saxophonist (alto and tenor, leader of the famous Supersax band, years later) also a vocalist, and a composer himself, requested Bill to join and write for his short-lived big band.
Holman wrote some arrangements for an All-Star Latin Band; the other writers were Benny Carter and Johnny Mandel—the title of the album Mucho Color plus Bill's other composition and arrangement 'Voya Hombre Voya'. His other arrangements on the album were all standards.
When Charlie Barnet was appearing in New York, Sept 1958, he requested more arrangements from Holman for his new album on Everest BR 5059. Stan Kenton obviously was still very much in awe of Bill's work because he invited him to write 'Royal Blue' for his Back to Balboa album in 1958 [Creative World ST 103]. And although Bill was delighted that Kenton admired him with such high esteem he never felt entirely committed to Stan, because after all he had been a freelance writer/musician for several years.
However, Holman was always happy to write on occasions, if available, for the Kenton Orchestra. Bill wanted to write more material for his own band which consisted of some of the finest musicians in the business. The album was titled In a Jazz Orbit.
Holman was persuaded to write again for a Hollywood movie, Get out of Town. Bill's score appeared to be more successful than the film. When Anita O'Day recorded an album under the title The Incomparable [Verve V-6-85 14] she wanted the very best accompaniment, Bill was able to accommodate her with his fine all star big band. Subsequently, Bill produced another fine album entitled Bill Holman's Great Big Band [Creative World ST I053] consisting of fine versions of standard tunes.
Three more exciting Holman arrangements including 'Malaguena' were submitted to Kenton for his Aduentura in Jazz album [Creative World ST IO1 01. It won a Grammy award. During the 1960s therewas quite a variety of work for Holman, not all jazz, but whenever the opportunity arose Bill was usually available. In 1962 the Jazz Scene TV series featured the Kenton band in a 25 minute programme and although Bill was no longer a member of the band it featured a couple of his arrangements, 'Limehouse Blues' and 'Malaguena'.
By 1963 Stan Kenton employed a new and exciting singer named Jean Turner, and was requiring new arrangements for her. Bill was only too happy to be of some assistance. He wrote new arrangements of 'A Lot Of Living To Do' and 'It's A Big Wide Wonderful World' [Creative World ST 10461.
Bill also wrote 'Black Coffee' and 'The Thrill Is Gone' and arrangements of these for another Kenton vocalist Ann Richards. When Stan Kenton commenced his second season with his 26 piece Los Angeles Neophonic orchestra in January 1966 he was requiring new material and many top arrangers/composers were approached, including Holman, to write a piece for Gerry Mulligan. Both had previously been associated with Kenton when they met during the 1950s. Bill also wrote for Gerry's Concert Band. The composition for the Neophonic orchestra was titled 'Solo Music For Baritone Saxophone' and consisted of four movements.
Prior to his retirement in 1967, Charlie Barnet once more required the arranging talent of Bill Holman for his last album (later issued on Creative World ST 1056). Titles include 'Bali Bali Buck Dance', 'Introduction To An Ending', 'Clap Hands! Here Comes Charlie!'. This was also the final performances by the late alto saxophonist Willie Smith. On forming a new exciting band in 1966 Buddy Rich was seeking some of the finest arranger/composers in the business and Holman, no exception, was invited to write for the band. One of his best-known albums, Swing Face featured Bill's totally different version of 'Bugle Call Rag' which had been previously played by the Miller and Goodman bands, and of course, 'Norwegian Wood', a number associated with the Beatles, but Bill's arrangement erupted into a full brass, reeds and rhythm showstopper.
Holman also contributed to other albums by 12 the Rich band including 'Ready Mix' for the Swinging New Big Band album Fontana STL 5408. Holman was beckoned by the Hollywood studios again for a jazz sequence in a Jerry Lewis film, Three on a Couch, followed by a movie based on a play by Murray Schisgal's called Luo. Bill arranged the music for the Don Lusher/ Gerry Mulligan band heard on the soundtrack.
Bill was writing quite a few charts for university bands and appearing at college seminars. He was commissioned by Roger Schuller of Millikin State University at Decatur, Illinois, to write the superb 'Malaga' composition which was to be performed later by the Kenton orchestra. Holman was invited to appear at the Monterey Jazz Festival which included Ed Hines, M.J.Q., vocalist/pianist Carmen McRae. Bill wrote several arrangements for her albums—also appearing on this bill were the Don Ellis orchestra.
With a colleague during the early 1970s Bill started a publishing business, printing and distributing music to schools but after a while it collapsed. The mail order system didn't work out. He then had a new publishing company which was able to retain the copyright. This was more satisfactory.
Holman taught arranging and composing at his friend, Dick Grove's school, also Berklee in Boston, but would prefer writing from home rather than travel. For the Live at Redlands University album where the Kenton band recorded 'live' at the campus grounds, Holman supplied two arrangements, 'Tico Tico' and 'Granada' [Creative World ST IO I 53. The Kenton organisation also recorded Live at Brigham University which featured Bill's arrangement of Gershwin's 'Rhapsody In . Blue' and his lovely 'Malaga' composition mentioned earlier [Creative World ST 10391.
The late recording engineering expert Wally Heider suggested to Holman that it would be a great idea to rearrange 'Happy Birthday To You' secretly for Stan's forthcoming birthday whilst he was asleep in his hotel room in Pittsburgh, Pennsylvania. Eventually it was performed in Nottingham much to the surprise of Stan and the audience in 1973. Plenty of freelance work followed, a considerable amount of writing for singers Bobby Darin, Peggy Lee, Steve Lawrence and Eydie Gorme. For the latter Bill wrote a medley of songs associated with Frank Sinatra which were performed at the Universal Theatre. It is without a doubt something with which Holman was truly satisfied.
In 1980 Holman was spending time writing for bands in Switzerland, Sweden, Denmark, Germany, etc. Bill, considering there are many fine bands on the Continent, is very impressed with the Radio big band in England and many other fine British bands including Don Lusher with Ted Heath band plus Don's own big band. Bill's first trip to England was in 1984 when he did a few shows with the BBC. The following year Bill arrived once again in England to conduct the Royal Philharmonic orchestra in a piece from his own library 'Theme and Variations No.2' plus strings.
Trombonist Bobby Lamb was featured in his version of Johnny Mandel's tune 'Emily'. Back in the States Bill wrote for the Tonite Show Band (now defunct) Johnny Carson Show. Holman recorded with his own band in 1987. He won a Grammy Award for his arrangement of Duke Ellington's 'Take The A Train'.
At the 50th anniversary of Stan Kenton concert in 1991, Bill appeared with his own orchestra and alumni orchestra and in July the same year at the Albert Hall, London, Bill appeared with the Shorty Rogers West Coast package and conducted an all star British band. Bill Holman later returned to England for the celebration of Stan Kenton's music, Rendezvous in Britain, with Bud Shank (alto sax), Bill Perkins (tenor sax) and Jiggs Whigham (trombone).