Martin in the 1943 film Stage Door Canteen
Backgrou… Read Full Bio ↴Freddy Martin
Martin in the 1943 film Stage Door Canteen
Background information
Born December 9, 1906
Origin Cleveland, Ohio, United States
Died September 30, 1983 (aged 76)
Genres Jazz
Occupations Musician, bandleader
Instruments Saxophone
Frederick Alfred (Freddy) Martin (December 9, 1906 – September 30, 1983) was an American bandleader and tenor saxophonist.
Early life
Martin was born in Cleveland, Ohio.[1] Raised largely in an orphanage and with various relatives, Martin started out playing drums, then switched to C-melody saxophone and later tenor saxophone, the latter the one he would be identified with. Early on, he had intended to become a journalist. He had hoped that he would earn enough money from his musical work to enter Ohio State, but instead, he wound up becoming an accomplished musician. Martin led his own band while he was in high school, then played in various local bands. After working on a ship's band, Martin joined the Mason-Dixon band, then joined Arnold Johnson and Jack Albin. It was with Albin's "Hotel Pennsylvania Music" that he made his first recordings, for Columbia's Harmony, Velvet Tone, and Clarion 50 cent labels in 1930.
Early career
Martin in 1943
After a couple of years, his skill began attracting other musicians. One such musician was Guy Lombardo, who would remain friends with Martin throughout his life. After graduation from high school, Martin accepted a job at the H.N. White musical instrument company. When Lombardo was playing in Cleveland, Martin tried giving Lombardo some saxophones, which proved unsuccessful. Fortunately, Lombardo did get to hear Freddy’s band. One night, when Guy could not do a certain date, he suggested that Freddy’s band could fill in for him. The band did very well and that’s how Martin’s career really got started. But the band broke up and he did not form a permanent band until 1931 at the Bossert Hotel in Brooklyn.
At the Bossert Marine Room, Freddy pioneered the "Tenor Band" style that swept the sweet-music industry. With his own tenor sax as melodic lead, Martin fronted an all-tenor sax section with just two brasses and a violin trio plus rhythm. The rich, lilting style quickly spawned imitators in hotels and ballrooms nationwide. "Tenor bands", usually with just the three tenors and one trumpet, could occasionally be found playing for older dancers well into the 1980s.
The Martin band recorded first for Columbia Records in 1932. As the company was broke and signing no new contracts, the band switched to Brunswick Records after one session and remained with that label till 1938. Afterwards Martin appeared on RCA's Bluebird and Victor Records. The band also recorded pseudonymously in the early '30s, backing singers such as Will Osborne.
Martin took his band into many prestigious hotels, including the Roosevelt Grill in New York City and the Ambassador in Los Angeles. A fixture on radio, his sponsored shows included NBC's Maybelline Penthouse Serenade of 1937. But Martin’s real success came in 1941 with an arrangement from the first movement of Tchaikovsky’s B-flat piano concerto. Martin recorded the piece instrumentally, but soon lyrics were put in and it was re-cut as "Tonight We Love" with Clyde Rogers' vocal - becoming his biggest hit.
The success of "Tonight We Love" prompted Martin to adopt other classical themes as well, which featured the band's pianists Jack Fina, Murray Arnold and Barclay Allen. At this time Freddy enlarged the orchestra to a strength of six violins, four brasses and a like number of saxes.
Musical style
Freddy Martin was nicknamed "Mr. Silvertone" by saxophonist Johnny Hodges. Chu Berry named Freddy Martin his favorite saxophonist. He has also been idolized by many other saxophonists, including Eddie Miller. Although his playing has been admired by so many jazz musicians, Freddy Martin never tried to be a jazz musician. Martin always led a sweet styled band. Unlike most sweet bands that just played dull music, Martin’s band turned out to be one of the most musical and most melodic of all the typical hotel-room sweet bands. According to George T. Simon, Freddy's band was,
"one of the most pleasant, most relaxed dance bands that ever flowed across the band scene."
Martin was probably one of the most respected tenor saxophonists of the dance band era.
He used the banner "Music In The Martin Manner." Ironically, Russ Morgan used a similar banner when he finally landed a radio series with his own band in 1936. (Morgan’s title was "Music In The Morgan Manner"!). Russ had been playing in Freddy’s band and the two were good friends for years. Russ even used some of Freddy's arrangements when he started his band. Did Martin let the "Music In The ------ Manner" and the arrangement thing go? Yes. "Freddy Martin is such a nice man," said Larry Barnett. "He’s almost too nice for his own good."
Later career
Martin also had a good ear for singers. At one time or another, Martin employed Merv Griffin, Buddy Clark, pianists Sid Appleman and Terry Shand, saxophonist Elmer Feldkamp, Stuart Wade (his most impressive male singer), violinist Eddie Stone, and many others. Helen Ward was a singer for Martin just before she joined Benny Goodman's new band.
Martin’s popularity as a bandleader led him to Hollywood in the 1940s where he and his band appeared in a handful of films, including Seven Days' Leave (1942), Stage Door Canteen (1943) and Melody Time (1948), among others.
In the 1950s and 1960s Martin continued to perform on the radio and also appeared on TV. Untroubled by changing musical tastes, he continued to work at major venues and was musical director for Elvis Presley’s first appearance in Las Vegas. Still in demand for hotel work, Martin entered the 1970s with an engagement at the Ambassador Hotel in Los Angeles. In the early 1970s, he was part of two tours of one-nighters that were known as The Big Band Cavalcade. Among the other performers on the show were Margaret Whiting, Bob Crosby, Frankie Carle, Buddy Morrow, Art Mooney and George Shearing. When the tours ended, Martin returned to the West Coast. In 1977, Martin was asked to lead Guy Lombardo’s band when Lombardo was hospitalized with a heart condition.
Martin continued leading his band until the early 1980s, although by then, he was semi-retired. Freddy Martin died on September 30, 1983 in a Newport Beach hospital after a lingering illness. He was 76 years old.
The 1947 song "Pico and Sepulveda" was recorded by Martin under the alias of "Felix Figueroa and his Orchestra" and was frequently featured on Dr. Demento's syndicated radio show.[2] It was also featured in the surrealist film Forbidden Zone.
Managua Nicaragua
Freddy Martin Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You buy a hacienda for a few pesos down
You give it to the lady you are tryin' to win
But her papa doesn't let you come in
Managua, Nicaragua is a heavenly place
You ask a señorita for a 'leetle' embrace
She answers you, "Caramba! scram-ba bambarito"
I have been to many tropic ports
I might include even Brooklyn
If you're ever feelin' out of sorts
I'd like to recommend a look in...
Managua, Nicaragua, what a wonderful spot
There's coffee and bananas and a temperature hot
So take a trip and on a ship go sailing away
Across the agua to Managua, Nicaragua, olégua to Managua, Nicaragua, ol?
The song "Managua Nicaragua" by Freddy Martin is a lighthearted tune about a man trying to win over a lady in the beautiful town of Managua. It portrays the town as a place of exotic beauty with a low cost of living, making it possible to buy a hacienda for just a few pesos down. The man plans to use this as an offering to the lady he is trying to win over, but unfortunately, her father does not approve of him. The song goes on to describe the town as a heavenly spot with a warm climate and tropical fruits like bananas and coffee. However, the lyrics also convey that the local people might be less welcoming to outsiders who do not understand their customs and slang.
Overall, the song presents Managua, Nicaragua, as a town that has a unique charm, and the lyrics paint a vivid picture of the town. Still, it also subtly suggests that it may not be easy for outsiders to fit in and be accepted by the locals. While the song's message is light and carefree, it nonetheless provides insight into cultural differences and highlights the need for respect and understanding when traveling to a foreign destination.
Line by Line Meaning
Managua, Nicaragua is a beautiful town
The city of Managua in Nicaragua is a sight to behold, it is stunning and attractive.
You buy a hacienda for a few pesos down
One can purchase a hacienda for a low price in Managua, Nicaragua.
You give it to the lady you are tryin' to win
In order to impress a woman in Managua, Nicaragua, you would give her a hacienda as a gift.
But her papa doesn't let you come in
You may be denied access to the lady's home by her father despite giving her a gift in Managua, Nicaragua.
Managua, Nicaragua is a heavenly place
The city of Managua, Nicaragua is an idyllic and enchanting location.
You ask a señorita for a 'leetle' embrace
If you ask a young lady in Managua, Nicaragua for a small hug, that may be taken as an inappropriate request.
She answers you, "Caramba! scram-ba bambarito"
If you make an improper request to a young lady in Managua, Nicaragua, she may respond with the phrase 'Caramba! scram-ba bambarito' which means 'No'.
In Managua, Nicaragua, that's "No"
In the city of Managua in Nicaragua, the phrase 'scram-ba bambarito' means 'No'.
I have been to many tropic ports
The singer has visited countless tropical destinations.
I might include even Brooklyn
The singer has even been to places far from the tropics like Brooklyn, New York.
If you're ever feelin' out of sorts
If you ever feel unwell or dispirited.
I'd like to recommend a look in...
The singer would like to suggest considering taking a trip to...
Managua, Nicaragua, what a wonderful spot
Managua, Nicaragua is an exceptional and amazing location.
There's coffee and bananas and a temperature hot
Managua, Nicaragua has these things to offer: coffee, bananas, and hot weather.
So take a trip and on a ship go sailing away
The singer recommends going on a ship and traveling to Managua, Nicaragua.
Across the agua to Managua, Nicaragua, olégua to Managua, Nicaragua, ol?
Travel across the water to Managua, Nicaragua. Do you hear me, Managua, Nicaragua?
Lyrics © BMG Rights Management
Written by: Albert Gamse, Irving Fields
Lyrics Licensed & Provided by LyricFind
@ilinkabarrerahueck6843
Realmente hermoso como mi país y mi ciudad.
@andypandy4078
Another reason why I think in general 40s music is far superior to 50s.
@chriswilliams1124
I respect your opinion, but I like 50s. You can definitely tell this is late 40s though, the big band sound is going away
@n.b.2164
Both great decades. I love the big bands, so I slightly prefer the 30's and 40's. The 50's still had great music with class, though the actual music playing was overshadowed by the singers.