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Missing for almost four decades, beloved WOC 1420 Radio and WOC TV 6, Davenport, Iowa Musical Director George Sontag's picture portfolio briefcase has been found. Incredibly his briefcase contains pictures that were near and dear to the heart of Mr. Sontag spanning his career from his early years in the big band Orrin Tucker Orchestra, on to his time at WOC Radio after the break-up of the Orchestra due to World War II and then onto his early television years at WOC TV 5 and then WOC TV 6, Davenport, Iowa. |
In order to appreciate the story of George Sontag you have to take into account his pictures which tell the story of the big band years of Orrin Tucker and his orchestra. The following article on Orrin Tucker was originally published in the May 2000 issue of Jazz Connection Magazine.
King Of The Stardust Ballroom
Orrin Tucker Renowned For Music That Catered To Ballroom Dancers
The following article on Orrin Tucker was originally published in the May 2000 issue of Jazz Connection Magazine and is found at their terrific website http://www.jazzconnectionmag.com/orrin_tucker_article_may_2000.htm.
Orrin Tucker dreamt of a career in medicine, but after seeing a picture of a saxophone advertised in a Sears Roebuck catalog, his interests soon shifted to music. The switch proved to be a good Rx, as Tucker went on to lead one of the most popular hotel/ballroom orchestras during the Big Band era."I have no regrets choosing music over medicine," said the 89-year-old bandleader in a telephone conversation from his home in South Pasadena, CA. "It's proven to be a good choice for me." His 1939 hit record of Oh, Johnny, Oh, Johnny, Oh! catapulted Tucker to prominence, leading one of the hottest bands in the land.
Born on February 17, 1911, in St. Louis, MO, Tucker grew up in Wheaton, IL. The genesis of his musical career literally came out of the pages of a Sears Roebuck catalog, where he saw that picture of a saxophone. "The picture of that shiny saxophone fascinated me," Tucker said. "There were so many more buttons on it than on a trumpet that it was kind of forbidding. I thought I'd like to try a saxophone." 
Tucker's yearning for a saxophone was also heighten after seeing Fred Waring and his Pennsylvanians perform during their yearly pilgrimage to Chicago, he said. Saving his money, the teenage Tucker eventually bought an alto saxophone through the Sears Roebuck department store catalog. Having difficulty finding a saxophone teacher in the Wheaton area, Tucker became self-taught on the instrument, utilizing written instructional books to figure out fingering techniques. "I really had to help myself in order to get started," he said. He later switched to playing the tenor sax.
While in high school, Tucker formed a dance band with his sights set on attending college and then medical school. "I was just looking to be a general practitioner, a family doctor," he said. Many of those dances that Tucker played for were in Chicago and juggling dance hall schedules with train schedules and school schedules sometimes didn't always work out for the budding bandleader. "I would try to take the latest train possible back to Wheaton but there were times when the dances would be over late and I'd end up sitting at the train depot all night in order to catch the 6 a.m. train back," Tucker said. Some people were not so understanding of Tucker's enterprises, least of all his high school principal. "I remember getting off the early morning train carrying my instruments sloshing through the snow-covered streets," Tucker recalled. "I passed in front of the principal's home. He saw me as he came out the door to get his bottle of milk. Later that morning, he addressed the class saying, 'That Orrin Tucker will never amount to anything. He's always coming home during the early morning hours. He'll focus all his attention on playing for dances but pays no attention to his studies!'
"Not all of Tucker's bosses were legitimate dance hall owners. Some were gangsters. During Prohibition, Chicago was a Mecca for underworld racketeering. "I worked for a few of those people," Tucker said matter-of-factly. "One of those people was Bugsy Siegel, the guy who eventually owned all the original hotels in Las Vegas."
After graduating from high school in 1929, Tucker learned that Northwestern University's School of Speech offered one one-year scholarship per year to an Illinois resident interested in studying theater arts. He figured once enrolled, he could then take pre-med courses. After completing his freshman year, he transferred to North Central College in Naperville, which was closer to Wheaton. To help meet college expenses, Tucker formed a band to play at the Spanish Tearoom in Naperville. The band was so good that it drew patrons from as far away as Chicago. Noting his success, a local agent booked Tucker and his band for a three-week engagement at a New Orleans hotel during Mardi Gras. The band faired well at the "Crescent City" engagement which inspired Tucker to then focus all his energies full time to band leading. "That did it for me," Tucker said. "Staying in music what was what I wanted to do. From then on, there was no turning back."
In 1933, Tucker organized his first full-time band, opting to stay in the Chicago area. Two years later, the band began a long stay at the Troutdale Hotel in Evergreen, CO, with a successful engagement at the "Windy City's" Edgewater Beach Hotel the following year. The clientele at the Edgewater Beach Hotel loved Tucker's music so much that the band returned for a six-month stay at the posh resort in October 1937. By March 1938, the Tucker band found itself playing in the "Big Apple," at the famed Roosevelt Hotel. Tucker himself was a pleasant enough singer and his band was gaining popularity. However, when he hired Bonnie Baker as his girl singer in February 1938, the band's popularity increased. "We were in Kansas City at the time and I received a telephone call from Louis Armstrong telling me about this singer named Evelyn Nelson who was singing at the Claridge Hotel in St. Louis," Tucker said. "He told me that she sings with a cute voice and that if I wrote cute songs for her, I could make her a star." Tucker went to check out the five-foot charmer from Orange, TX. He was pleased with what he heard. "It wasn't easy, but I talked her into joining the band," Tucker said. "I also talked her into changing her name. I'm very much in favor for a person's name to begin with consonants. I thought 'Bonnie Baker' was a strong name with confidence. It turned out to be true."
Tucker and his band waxed their first sides on the Vocalion label in New York on April 25, 1938, with Havin' Myself A Time (vocal by Bonnie Baker), Cathedral In The Pines (vocal by Tucker), Ride, Tenderfoot, Ride (Tucker), I'll Dream Tonight (Tucker), Especially For You (Baker) and I Need Lovin' (Tucker). Band members included Morton Wells and Dick Robinson, trumpets; Tucker, Doc Morrison, Joe Strassburger and Norbert Stammer, saxophones; Roy Cohan and Will Flanders, violins; Everett Ralston, piano; George Sontag, piano/tuba; Lorry Lee, guitar/violin; Arnold Jensen, bass; Phil Patton, drums. It would be a year before Tucker and his crew would be in a recording studios again. In the mean time, the band returned to Chicago in July to begin an eight-month stay the Edgewater Beach Hotel, and in February 1939, they were playing across town at the Palmer House. During this period, Tucker started writing tunes that featured Baker's girl-like voice on such pieces as Especially For You and Wouldja Mind?
The band's big break came when they were asked to record for Columbia Records. "Bill Paley, the President of CBS, called me wanting me to do to the first recording session for his new company," Tucker said. "He said that Benny Goodman, who had just signed with Columbia, would do the second session. He said we should pick songs that are popular at our dances. "Tucker's inaugural recording date for Columbia Records was on April 2 in New York. The band cut six sides on that session with a pair of vocals by Gil Mershon: Midnight and How Strange; two vocals by Tucker on Wishing and Everybody Loves My Baby; and a pair by Bonnie Baker: What Are Little Girls Made Of? and Billy. Tucker's recordings made a modest impact for Columbia.
In late spring, the band headed out to Los Angeles to work the remainder of the year at the famed Cocoanut Grove. While in Los Angeles, Tucker's band went into the recording studios on Aug. 2 for its second time to wax four sides for Columbia. All four sides were rejected. It wasn't until three weeks later on Aug. 20, that Tucker and crew returned to the recording studios to redo the previously four rejected selections plus cut four additional pieces. It would become a turning point in his life. One of the songs that came out of that recording session was an old World War I ditty by Edward Rose and A. Olman called Oh, Johnny, Oh, Johnny, Oh! Baker sang the vocal while adding her own coy enunciations of such provocative words as "Oh!" and "Uh-uh!" and a few extra sighs. All of a sudden Tucker had himself a hit record and one of the hottest bands in the country.
Because of the song's success, it won Tucker an invitation to perform for President Franklin D. Roosevelt at The White House. "I didn't especially want to record it because it was too simple of a novelty song," Tucker recalled. "I didn't think it would be big. We had some other tunes that were strong ballads that I thought would be better sellers. Oh, Johnny became a big national hit. It helped put Columbia Records in business."
Tucker made over 100 records for Columbia from 1939 to 1942, that include such selections as How Many Times? (vocal by Tucker on Aug. 20, 1939), Wouldja Mind? (vocal by Bonnie Baker on Oct. 4, 1939), Drifting And Dreaming (the band's theme song on Dec. 5, 1939), Not Yet (vocal by Baker) and Where Do I Go From You? (vocal by Tucker, both on March 18, 1940), Absence Makes The Heart Grow Fonder (vocal by Baker, Jan. 29, 1941), Calling All Hearts (vocal by Tucker on Feb. 7, 1941), and Do I Worry? (vocal by Baker and Tucker, April 18, 1941), he said. "Our usual recording policy would be that Bonnie would sing a song on one side of the record and I'd sing a song on the other side," Tucker said.
It was also during this time that Tucker christened his girl vocalist with the new prefix of "Wee," due to her diminutive stature. "I introduced Bonnie over the radio saying, 'And now the shy voice of Wee Bonnie Baker...,'" Tucker said. "People picked up on that and the name stuck."
In 1940, Baker was voted Most Popular Female Band Vocalist in a college poll. Before she left Tucker's orchestra in the summer of 1941, Baker was featured vocally on 44 recorded sides. She died in 1990 in Florida at age 72.
Other female vocalists that sang with Tucker were Helen Lee in late 1945, and Scottee Marsh. Marsh had previously sung with the Bernie Cummins and Tommy Dorsey orchestras. She stayed with Tucker from 1946 to 1950, during which time, her husband, Carl Erca was playing trumpet in the band.
In 1940, Tucker and aggregation starred in the film, You're The One, a "B" movie that was written for the band. The movie also featured comedian Jerry Colonna who recorded the tune, The Yogi Who Lost His Will Power, with the Tucker band for the movie's sound track. Colonna and Tucker recorded the song commercially for Columbia on Nov. 11, 1940. Other selections from the movie sound track included Strawberry Lane, I Could Kiss You For That, My Resistance Is Low, Gee, I Wish I'd Listened To My Mother, and Oh, Johnny, Oh, Johnny, Oh! (vocal by Baker).
Shortly after his band's final recording session took place on March 21, 1942, in Chicago, Tucker disbanded to join the Navy. During World War II, he was stationed for four years at Pearl Harbor, HI, as a pilot instructor. Because of Tucker's popularity as a bandleader before the war, he also was appointed Entertainment Officer at the base. "I had double duty the whole d*mned time!" he said. Tucker's notoriety as a musician kept him in good standing with his subordinates, thus creating a fine rapport between officers and enlisted personnel. "At my first assignment, I was one of six white officers at an installation with 3,600 African Americans sailors," Tucker said. "The whole camp felt as if they knew me and the sailors would stop in my quarters to make friends. "Throughout the war, Tucker noticed that the servicemen were listening to loud brassy jazz and to swing bands. When he returned to civilian life in late 1945, he elected to change his musical style to what the servicemen were listening to. His post-war band included seven brass, five saxes, a standard rhythm section, and even two French horns. The musical arrangements were heavy and thick.
His new band re-opened at the Edgewater Beach Hotel in Chicago in October 1945, then went on to play throughout all of 1946 at such top spots as the Waldorf-Astoria Hotel in New York, the Empire Room in Chicago, the Cocoanut Grove in Los Angeles, the Casino Gardens in Ocean Park, CA, and at the Mark Hopkins Hotel in San Francisco. He found time during that year to record ten sides with his re-vamped band on the Musicraft label. Patrons welcomed Tucker's new sound with mixed reviews. Hotel managers wanted the string section back and the brass section reduced. "We were mostly a hotel band playing in dining rooms and this new sound that were were trying out was just too loud for that sort of thing," Tucker said. "Besides, the hotel managers threatened to cancel any return bookings if we didn't go back to the old sound, which I did."
Tucker's last commercial recordings for a major record label occurred in March 1947 when Mercury had him wax two tunes: The Moon Is Always Bigger On Saturday Night and a remake of Little Girl (both with vocals by Tucker).The music that Tucker was noted for playing was labeled "Mickey Mouse" by swing music fans, a term that doesn't offend him. "Every band that played hotel music was labeled a 'Mickey Mouse' band," he said. Tucker knew his music and his public and was at his best playing for middle-aged dancers.
When most of the big bands faded away, he was still around, playing his music at some of the smarter spots.In 1974, Tucker and his band appeared in a made-for-television production of Queen Of The Stardust Ballroom, starring Maureen Stapleton and Charles Durning.The role inspired Tucker to convert an abandoned bowling alley in Hollywood into a real Stardust Ballroom where he played for enthusiastic dancers. Throughout the 1970's and early 1980's, Tucker also played annually at Disneyland, Las Vegas and was a main stay at Myron's Ballroom in downtown Los Angeles, playing for dancers every Wednesday, Friday, Saturday and Sunday evenings with a Sunday afternoon matinee. He still managed to broadcast live on radio as recently as 1977.
Tucker lamented that with today's music, people aren't dancing as they did in earlier years. "There aren't any ballrooms around," he said. "If people do dance, they don't touch each other. They stand on the floor waving their arms up above their heads." Even with a resurgence of interest in Big Band music that came as a result of the neo-swing movement of the mid-1990s, Tucker noted that young people are not attracted to his brand of music. "They wouldn't know me from a bale of hay," he quipped.Tucker, these days, considers himself "semi-retired" and leads a band for special occasions and concerts, mostly in the greater Los Angeles area. In October, he and a 14-piece band will play on the Queen Elizabeth II for a cruise from London to Miami. "I haven't played my saxophone in about six months so I better get it out and get my chops up!" he said.
Married for the past 25 years, Tucker was recently hospitalized for six months as a result of spinal surgery. In 1997, he lost his collection of records and memorabilia in a fire. He has been a frequent attendee of the Big Band Academy of America's annual reunions held the first weekend in March in Studio City, CA.
Some of Tucker's music can be purchased through Bermuda House at their web site at: www.bermudahouse.com
Tucker feels that his contribution to the history of American popular music has been leading a very good and very entertaining stage band, he said."I always tried to have a good theatrical show," he said. "My trademark for many years was having the band do some things with lights during a blacked out room."To this day, Tucker remains philosophical about the path he chose in life."All through my life I am a person who wanted to be in a position to help people," he said. "I believe that the source of happiness is helping others."Through his warm personality that was always reflected in his music, Tucker has done just that!
George Sontag wrote the following on the back of this photo; (presumed to be the back row) George Sontag, Phil Patton, Dick Robinson, Arnie Jensen(?), ? Lee, Frank Nethers, Roe DeJon, Joe Strassburger
Above - Chicago Theater, George Sontag on piano. Below, Chicago, George presumed to be part of the cow gag.
Elitch Gardens, George Sontag - front left.
KMBC is in Kansas City. Female vocalist appears to be Helen Lee. Her hand is on George Sontag's shoulder. He is front left. Below, The Orrin Tucker Orchestra, George is barely visible on the right playing the piano during the introductions.
Above - Orrin Tucker Orchestra, Wichita, Kansas, July 2nd, 3rd and 4th, 1936. George Sontag, far left on piano. Below - Picture is labeled Hollywood Knickerbocker Hotel, Hollywood, California. George Sontag far right on piano.
Picture above reads - Spring 1935 - New Orleans - Feb. George Sontag - seated third left.
George Sontag far right on piano on CBS Radio, cutting it up with the boys in the band on the other end of the room.
Studio where this picture (above) came from reads San Fransisco. George Sontag, hand lifted, playing piano, far left.
Picture below - Judging by the wreath, this must be Christmastime, most likely in the 1930s. Picture states - Edgewater Beach Hotel, Ardmore 5958, Chicago, Illinois. George Sontag, smiling for the picture, next to the harp on the left.
George Sontag, laughing at far left, Appears to be Bonnie Baker and Orrin Tucker waiting on top of the stairs to board the plane with the band.
George Sontag during the Orrin Tucker years.
Orrin Tucker. Top left is Orrin in his Yogi gettup. In 1940, Tucker and aggregation including George Sontag starred in the film, You're The One, a "B" movie that was written for the band. The movie also featured comedian Jerry Colonna who recorded the tune, The Yogi Who Lost His Will Power, with the Tucker band for the movie's sound track. Colonna and Tucker recorded the song commercially for Columbia on Nov. 11, 1940.
1930s and 40s singing sensation, the lead vocalist of The Orrin Tucker Band, Bonnie Baker.
To George from Jeri. Jeri Ray was a singer who appeared alongside the Orrin Tucker Band and recorded with them as well.
Dancing partners Franklin and Joseph Dancing partners Ruth and Frank McCormick
Longtime WOC director Ed Jones remembers that The Hartmans were an incredible dance duo, some of the best he has ever seen. Ed said that during the middle of their dancing they had a routine where they would dance as if they were bumping into each other, the craziest thing you have ever seen, then flawlessly return to their incredible dancing. It is not too hard to imagine them appearing with the Orrin Tucker Orchestra.
Pictures above read that they are to George from Patricia - Vocalist featured with Jack Tracy and His Orchestra
Bonnie Baker in the middle.
Jack Sontag, George's brother and local celebrity. George Sontag on the cover of the very first Televiews, the precurser to TV Guide. January 4th, 1951 Caricature of George at the piano. George Sontag, WOC celebrity announcer Warren Vasen and longtime piano partner Marge Meinert early in the history of WOC TV 5 (later to become WOC TV 6 and KWQC TV 6) Davenport, Iowa.
George Sontag's longtime WOC Radio and Television musical partner and national recording artist Marge Meinert.
Marjorie Meinert and George Sontag, the musical sounds of WOC. These pictures were taken at the Palmer Mansion from which WOC Radio and TV broadcasted.
George Sontag in the middle, seated behind the banner, in Hawaii, posing for the WOC AM & FM Hawaiian Holiday with WOC listeners who came along for the vacation. Also pictured is Pat Sundine, far right, first row wearing black gloves.
George Sontag's final promotional picture.
Above, George Sontag plays the piano. Picture was taken while at WOC. Below, another shot, date and place unknown.
12/05/2008 ... WMT TV 2 Cedar Rapid's very own Ford Roberts remembers George Sontag and Orrin Tucker - George Sontag was quite a guy. I watched George on WOC TV in the early fifties. I met him at the Plantation in Davenport where we had quite a conversation. Fine fellow. Orrin Tucker was the subject of a show I produced at KRNT in the late 90's. Orrin was a fine interview subject. His band had a Des Moines connection; Eddie Rice was a member of a quartet that sang on KRNT; the group was headed by Al Rockwell a fellow I knew from grade school. When the Tucker band came to Des Moines in 1939, Eddie and two of the quartet members were hired. They added another and were known as The Bodyguards. Thank you for the details on George and Orrin Tucker. All the best, Ford
01/18/2010 ... Hi,
I so enjoyed your website. My dad was Will Flanders, violinist with Tucker for many years. Some of the pictures I had never seen, but I have copies of some of them. Dad loved his years with the band, and I wish I had written down all the crazy stories he told us about their adventures. He always had anecdotes about George, Norbert Stammer, Phil Patton, Lorry Lee, Joe Strassberger and the boys.
Dad got out of the band in 1940. He and my Mom had traveled a very grueling schedule for 5 years and decided to settle down in the Chicago area, where Dad became a mechanical engineer. He played music for the rest of his life, and after retiring from the engineering trade, went back to playing professionally in the San Francisco bay area.
So, thank you thank you for the wonderful site and the tribute to a great guy, Orrin Tucker.
Sue Edwards
Click here to go to Captain Ernie's Showboat
If you have any memories or pictures of George Sontag, please email me!