Satin Doll by Billy Strayhorn, Duke Ellington, and Johnny Mercer (1958), arr. by Sammy Nestico; one of the Duke Ellington classics, played often by Count Basie's band.
(featuring solos by Ann Booth, piano, Harvey Skow, flugelhorn, and Dan Desmonds, tenor sax; with the vocal trio of Karen Dunn, Barb Harvey, and Glen Newton)
It's Been a Long, Long Time by Sammy Cahn and Jule Styne (1945), arr. by Tim Altmann; one of Harry James' biggest hits; the Bing Crosby and Les Paul recording of this song hit #1 on the Billboard charts the month after World War II ended in 1945.
(featuring trumpeter Dan Theobald, vocalist Karen Dunn, and tenor saxophonist Dan Desmonds)
Little Brown Jug traditional (1939), arr. by Bill Finegan; the Glenn Miller band's first hit swing tune!
(featuring solos by Glen Newton, trumpet with plunger, and Glen Peterson, tenor sax)
Opus One by Sy Oliver and Sid Garris (1943), arr. by Steve Wright; recorded by Tommy Dorsey's orchestra.
(featuring Glen Peterson, tenor sax; Rich Eyman, trombone; and Jim Foster, electric bass; with the vocal trio of Karen Dunn, Barb Harvey, and Glen Newton)
Misty by Erroll Garner (1954), arr. by Johnny Warrington; originally composed as an instrumental, the tune later had lyrics added by Johnny Burke and has been recorded by Johnny Mathis and numerous other artists.
(featuring alto sax soloist Kay Foster, with a trumpet solo by Bob Nielsen and a trombone solo by Rich Eyman)
Bei Mir Bist du Schoen (in C Minor) by Sholom Secunda and Sammy Cahn (1932), arr. by Glen Newton; the Andrews Sisters had their first major success with “Bei Mir” which held Billboard's No. 1 slot for five weeks. This achievement established the girls as successful recording artists and they became celebrities.
(featuring vocalists Karen Dunn, Barb Harvey, and Glen Newton, with a trombone solo by George Henly and an alto sax solo by Bill Frank)
Fascinating Rhythm by George and Ira Gershwin (1924), arr. by Sammy Nestico; performed by Fred and Adele Astaire and Cliff Edwards in the 1924 musical, "Lady Be Good!"
(featuring solos by Glen Peterson, tenor sax, and Scott Swenson, trombone)
Still Love You by Keith Miner (2000), arr. by Glen Newton; Keith composed this song to honor his parents on their wedding anniversary.
(featuring composer-vocalist Keith Miner, with solos by Bill Mask, guitar; Glen Newton, bass trombone; and Jim Foster, electric bass)
Reverie for Ruben composed and arranged by Len Yaeger (2005); the World Premiere performance of this tribute to Minnesota educator and saxophonist Ruben Haugen.
(featuring solos by Glen Peterson, tenor sax; Ann Booth, piano; Scott Swenson, trombone; and Dan Theobald, trumpet)
Through the Eyes of Love by Carole Bayer Sager and Marvin Hamlisch (1978), arr. by Dave Wolpe; from the Columbia Picture "Ice Castles."
(featuring vocal soloist Barb Harvey, with vocalists Karen Dunn and Glen Newton)
It's Only a Paper Moon by Billy Rose, E. Y. Harburg, and Harold Arlen (1932), arr. by Jerry Nowak; originally titled "If You Believe in Me" and featured in the short-running play, "The Great Magoo"; later appeared in the film version of "Take a Chance" with its current title.
(featuring vocalists Karen Dunn and Glen Newton)
Ac-cent-tchu-ate the Positive by Harold Arlen and Johnny Mercer (1944), arr. by Rob Berry; sung by Bing Crosby in the Paramount Pictures motion picture "Here Come the Waves."
(featuring vocalist Karen Dunn, with a piano solo by Ann Booth and a guitar solo by Bill Mask)
What a Wonderful World by George David Weiss and Bob Thiele (1967), arr. by Jerry Nowak; recorded by Louis Armstrong; the favorite song of center fielder Kirby Puckett (1960-2006), who led the Minnesota Twins to two world series championships and inspired countless young baseball players.
(featuring vocalists Karen Dunn, Barb Harvey, and Glen Newton)
Roseville Big Band performers for this concert:
Saxes: Kay Foster (alto), Bill
Frank (alto), Glen Peterson (tenor),
Dan Desmonds (tenor), and Bill
Trumpets and Flugelhorns: Mark Lee, Dan Theobald, Harvey Skow, and Bob Nielsen
Trombones: Scott Swenson, George Henly, Rich Eyman, and Keith Miner (bass trombone)
Rhythm: Ann Booth (piano), Bill Mask (guitar), Jim Foster (bass), Kenne Thomas (drums), and Glen Newton (vibraphone)
Vocalists: Karen Dunn, Barb Harvey, Glen Newton, and Keith Miner
About 25 people watched the concert, including residents of Sholom Home East, staff, volunteers, and relatives of band members. Among the audience members was Zelda Johnson, who had accompanied the Andrews Sisters on the organ when they toured in the southern United States.
Ruben Haugen is friend and mentor to many woodwind players, here in the Twin Cities and around the world.
Ruben started his professional musical career as a young boy, playing clarinet in a Dixieland band on the vaudeville stage. He has since played professionally in nine different decades and is still going strong, but his lasting impact will be on the thousands of students he has mentored over the years. A search of the Internet will show Ruben's name on the resumes of top-flight woodwind players in major symphonies all over the world. It's quite a feather in one's cap to have studied with Ruben Haugen.
Locally, one can hardly talk to a sax player of any age or musical bent without having Ruben's name come up. When the question is asked, “Do you know Ruben Haugen?” the standard response is, “Of course, Ruben is one of my best friends.” This is the type of man Ruben is: respected for his knowledge and pedagogical abilities and beloved for his enthusiasm and supportive, up-beat personality. I've never seen Ruben without a smile on his face and a corny joke to tell. His trademark is responding to the greeting, “Ruben, it's good to see you,” with the reply, “At my age, it's good to be seen.”
I met Ruben in 1970, when we ended up playing together as ringers for a community-college jazz band, but he wouldn't remember that. I was just another mediocre kid trying to keep up. I really got to know Ruben three years ago, when I joined the saxophone ensemble at St. Thomas University. Under his tutelage, my playing progressed more in three months than in the previous 40 years. He immediately became one of my very favorite people. For his musical help and his friendship, I dedicate my first big-band composition, “Reverie for Ruben,” to him.
Ruben, I wish I'd gotten to know you when we first met almost 40 years ago.