OUR TAKE: FROM THE ANDREWS SISTERS TO THE SING SONG BOYS — A MEMORIAL DAY TRIBUTE

As shared before, I am a student of World War II. From my idolization of Winston Churchill to the stories of bravery and sacrifice of soldiers and civilians fighting to save democracy, dignity and decency, I am in awe of the massive scope of the conflict and what was at stake for the world. Though no war is entirely noble, WWII was as clear a case of good versus evil as we have ever seen.

Through documentaries, movies and television shows, the image of jazz musicians and singers performing for the troops during the war is indelible in our minds. “Swing” was king and dance was a way to put off the horror of the war and the fear that cloaked Europe and beyond. Glenn Miller, Tony Bennett, Clark Terry, John Coltrane, Wayne Shorter, Artie Shaw, Bill Watrous and countless others went from the bandstand to the battlefield. Jazz became one of America’s most important contributions to the war effort.

By 1940, 80% of American households owned a radio, making music easier to listen to for all. Popular songs from the WWII era were accessible to civilians and soldiers and were used to build morale and create commonality among both Americans and our allies. As we discuss later, jazz and Swing tunes were enormously popular in the United Kingdom.

Popular singers of the era included Frank Sinatra, Ella Fitzgerald, the Andrews Sisters (pictured above), and Bing Crosby. “Boogie Woogie Bugle Boy,” “Shoo Shoo Baby,” “I’m Making Believe,” “I’ll Be Seeing You,” and “I’ll Be Home for Christmas” are a few of the tunes that dominated the airwaves.

My favorite Churchill biography, The Splendid and the Vile by Erik Larson, chronicles the underground late-night world of London during The Blitz, where young men and women would gather in the basements of substantial buildings to listen to jazz, dance, and drink, while the night air was filled with both conventional bombs and incendiary oil bombs (fire bombs) dropped by the Luftwaffe. The juxtaposition of revelry amidst tragedy accentuates the desperation of the times.

The night sky was ablaze with fire and the Underground (literally and figuratively) was where Londoners came to both save and savor life. Life is always precious, death is always frightening, particularly when the former seems threatened, and the latter seems imminent.

Only recently have I learned about the role of music in the concentration camps. Here, too, ironic and polar opposite uses were in play. As you might imagine, the prisoners used music as a divergence from the horrors of the camp and the recognition of imminent and certain death. Using whatever materials or items they could gather to create sounds and with the power of their own voices, they would gather and sing. 

The story of Sachsenhausen is most poignant. Located fewer than 40 miles from Berlin, this SS-run prisoner camp was first used to incarcerate, not exterminate, German political prisoners. Some were Jewish, but it was only later that the camp included large numbers of Jews. Gay men, handicapped men, priests and religious leaders were also sent there. Then, in 1939, over 1,200 Czech students, many of whom were artists and musicians were sent to Sachsenhausen due to their political opinions, especially their anti-fascist, anti-Nazi convictions.

As a form of humiliation and ridicule, the SS men made the prisoners of Sachsenhausen sing incessantly. They were forced to sing when working, when hauling wagons and before and after eating. Unlike the songs that the prisoners would sing on their own, which were the popular American or Czech songs of the day, they were compelled to sing German contemporary songs and Nazi hymns. If you sang too softly, you would be beaten. If you sang too loudly, you would be beaten.

As a counter measure, the prisoners would organize “sing songs” where they would perform the songs of their native lands and popular songs of the day. One particularly well-known and courageous group of Czech students was called the Sing Song Boys. Their leader was Karel Stancl who later recounted their efforts:

The Sing Song Boys created songbooks that survived the camp and the war. Beautifully written and illustrated, they are treasured remembrances of a horrific time and place.

None of us can possibly imagine what being in a concentration camp would be like. That level of degradation and inhumane treatment still exists today, but, for the most part, we see it only on television and it occurs in places that make “there but for the grace of God go I” concerns comfortably remote. For us, music, whether it is jazz or any other form of music, is a symbol of the good life, of joy and expression. 

But, for many, music has been a cathartic experience meant to provide a brief hiatus from the horrors of life and oppression by others. Whether we are talking about concentration camp prisoners, plantation slaves, genocidal wars or refugees seeking asylum, the story is similar. When our hearts are heavy and hope seems too far away, we sing, we play music, we dance.

On this Memorial Day weekend, I hope that you do all three. My one “ask” is that you realize and acknowledge how many men and women it took to give you the opportunity to sing, play and dance and how precious are our freedoms to do so. Yes, the Sing Song Boys left a musical heritage, and the music of the enslaved South would lead to our beloved jazz. In no way do these positive results mitigate or excuse the brutal savagery that preceded. Moving forward, we must find ways to create and sustain great music and a great life without having to endure the horrors of encampment and slavery or any other form of inhumane behavior.

Rainbows do follow storms. So what? How about trying to eliminate storms for a change? I would gladly forego the rainbows.

By Michael Lazaroff, Executive Director of The Jazz Cruise, The Smooth Jazz Cruise, Chris Botti at Sea, and Journey of Jazz. Feel free to express your views or pose questions to him at [email protected]

An invitation from Alonzo Bodden

2-Day Tickets are now available on Ticketmaster for STL JAZZ FEST. 1-Day Tickets will go on sale Friday, May 31. For details about the festival and how to purchase tickets, see below:

STL JAZZ FEST
Produced by Jazz Cruises
The Factory – Chesterfield (St. Louis) Missouri

FRIDAY AUGUST 23, 2024
Eric Marienthal Quintet, featuring Niki Haris
The Comedy of Alonzo Bodden
GREGORY PORTER

SATURDAY AUGUST 24, 2024
Mindi Abair with Eric Marienthal & Friends
The Comedy of Alonzo Bodden
BRIAN CULBERTSON
  Doors 6 pm / Showtime 7 pm

The Jazz Cruise ’25
Celebrating its 25^th Anniversary

The plans for the 25th Anniversary sailing of The Jazz Cruise ’25 are spectacular. The cruise is over 87% reserved and is currently in Open Booking, which means that now anyone may reserve any available stateroom. Staterooms with Verandas remain in inventory along with Ocean View and Inside Staterooms.

The Smooth Jazz Cruise ‘25.1 & ‘25.2
Starting its 3^rd Decade

With both sailings being fully reserved, guests wishing to sail on a ’25 sailing of The Smooth Jazz Cruise should JOIN WAITLIST now. Cancellations will be filled exclusively from the WAITLIST. WAITLIST guests qualify for special terms when reserving a stateroom on The Jazz Cruise ’25 or Botti at Sea II.

Botti at Sea II
Every Night is a Night on the Town

Botti at Sea II is in the Open Booking stage and is over 60% reserved. Anyone may reserve any available stateroom either by calling the office during regular business hours or doing so online. It was this time last year that there was a “run” on staterooms, so act now! 

Journey of Jazz ’25
Jazz Life at Sea & On Land 
West Coast Style 

Jazz Cruises’ newest program, Journey of Jazz ’25, hosted by Marcus Miller & Gregory Porter, has completed the Pre-Sale process and began Open Booking on April 30, 2024. Like a race care, this program as gone from 0 – 60(%) sold in the blink of an eye.