Tony was raised in New Haven, Connecticut, and was of the same musical generation as a certain clarinetist whose name was to become a household word in musical America - Artie Shaw. Between the fact that Artie was older and that Tony thought he was "the greatest clarinet player I'd ever heard," there was a deep-seated admiration which Pastor made no attempt to conceal. He even considered it an honor to carry Shaw's instrument for him when the two walked down the streets of New Haven! Later, Artie and Tony were re-united when they both played in the Irving Aaronson and Austin Wylie orchestras. The friendship grew stronger ... and so did Tony Pastor's hero-worship of Mr. Shaw. Imagine Tony's pleasure and pride when Shaw invited him to serve as the sole saxophonist in Shaw's first permanent orchestra (summer of 1936).

The real turning point in Pastor's career came when Artie Shaw decided (in 1939) to take off for Mexico. But let's go back a bit in time. Up in Massachusetts, there was a fellow named Si Shribman who had already made quite a name for himself as both dance spot operator and big band manager and promoter. Shribman took a shine to the personable and talented Pastor and made him quite a tempting offer: if Pastor would head up his own band, Shribman would put up $50,000 to get the band started. At that point, Tony had become a key man in the Shaw organization. He explained to Shribman that, while he most certainly would like to head up his own band, he couldn't - and wouldn't - desert his good friend Artie. This unusual show of loyalty, in a business not noted for that quality, only endeared Pastor to Shribman. The time is now 1939 and Artie Shaw has made decision to abdicate as leader of his now famous and successful big band. At this point - no longer bound by loyalty - Tony picked up the phone and called Shribman to ask: "Is the offer still good?" It was. And'so the Tony Pastor orchestra was born.

Shribman had unlimited faith in Pastor and the future of the band. With Si's support, Tony was able to take an extended engagement in the Blue Room of the Lincoln Hotel (New York). As Pastor later explained in an interview - "We had eighteen air shots a week, so we were heard by an awful lot of people. Only catch was, the hotel wouldn't pay for the radio wire. So Si loaned me the forty-five thousand dollars it cost." All of which points up the importance of radio exposure to the big bands of the era.

It was Tony Pastor who introduced the Clooney Sisters - Betty and Rosemary - to the music world. They had been recommended to him by a fellow-band leader, Barney Rapp, who had heard them on a Cincinnati radio program over WL W. As Tony explained to me during an appearance on my record show, the original "Requestfully Yours" on W AA T, Newark, "They were smart kids, but they were only babies when I took them onto the bandstand with me (1947). Betty was 15 and Rosemary was a "grownup 17." They both had a good sense of rhythm ... even some corny arrangements of their own. Tony often joined the girls at the mike, thereby creating a most delightful trio. There are two fine examples of this in the album which you now have in your hands: "You Don't Learn That In School" and "Song of the Gondolier." And while we're on the subject of selections, let us also point out a couple of Tony Pastor instrumental originals - "Pastor presents" and "Macon Bakin'," a real swinger.

You're also invited to indulge yourself with a couple of those inimitable Tony Pastor novelty tune vocals - "Mimi" and "Doin' the Rattamaque," Incidentally, a rattamaque is a drum exercise and, needless to say, Tony's drummer boy is featured on this one. However, one of the most interesting items in the entire album is the Hugh McKay original, "Sunday in Savannah," which features Tony in the unusual role of serious vocalist. Very few fans realize how well Tony can deliver on a slow number - they're so accustomed to hearing him strut his stuff on novelties. "Sunday in Savannah" serves as a splendid example of the feeling and tenderness Pastor was capable of on a vocal.

No one ever accused Tony Pastor of having a great voice (it was anything but that!) but all America seemed to cherish his unique delivery and (usually) impish style. His idol was Louie Armstrong and Tony used to admit that it was, as he was fond of referring to Satchmo, "Mr. A" who shaped his singing style.

When Tony was with me on that aforementioned radio interview, I suggested that we take a picture together at the mike. The good humor and frivolous spirit of Pastor came to the surface when he topped me by proposing a shot showing Tony preparing to "type" a letter ... using a record in place of a sheet of paper. The end result is reprinted here for your enjoyment.

Needless to say, it was a sad day when Tony Pastor passed away at much too early an age. However, not only did Tony leave a rich heritage of hundreds of vocal and instrumental performances on records, but three sons who were very capable musicians in their own rights. So here, now, is your invitation to turn back the pages of musical time. .. back to the days when all the nation's dance-lovers turned on their radios in order to hear ... "And now, ladies and gentlemen, this network is proud and pleased to present for your dancing and listening pleasure the sound of one of America's great bands ... the Tony Pastor orchestra!"

- Paul Brenner