The famous jazz guitarist Sam Herman always discouraged folks from calling him "Sammy" because next thing they would expect him to show up for a gig lugging a xylophone. Sammy Herman was a first-call man on the latter keyboard percussion instrument for more than four decades, based out of New York City where he was part of the second wave of artists in the historic early days of the American recording industry. He was featured on radio, television, and live performances as well, and was NBC's staff xylophonist from 1928 to 1966, sometimes known as the golden age of broadcasting. He was a huge influence on all keyboard percussionists, especially in the realm of jazz where he was known for holding out a helping hand, presumably with a mallet in it, to younger players such as Red Norvo. Herman kept playing through the late '80s, and it was a special treat for his prodigies such as Gordon Stout to get together and jam with the old man at percussion conventions. Quite a few younger players were never able to master Herman's technique, let alone better it. An important part of the trick results from a condition that some people would consider a disadvantage, yet works just fine for a xylophonist: Herman was left-handed, so was easily able to play the melody with his left hand and harmony notes with the right. He began music at the age of eight, taking piano lessons from his mother. She demonstrated sheet music at a department store, meaning she would sit all day and play the newest tunes that had been published. She later was an assistant to Charles K. Hambitzer, a forgotten scholar of American music who just happened to be George Gershwin's teacher. The rich musical environment in Herman's family also included an uncle who drummed with the Army band and encouraged the adolescent Herman to join the high school orchestra. This was where the young man really began diving into the percussion section, and his first performance with the orchestra was indeed auspicious, Saint Saens' "Danse Macabre," featuring hip xylophone parts. He began gigging at local dances and in small clubs, where he met the established pianist Phil Ohman, whose immersion into the world of New York society bands was total. Herman was welcomed into the crowd of musicians playing such gigs with the Arden-Ohman Orchestra, and his career began to prosper. He worked with the Paul Specht Orchestra at a New York City hotel, leading to another important contact. Broadway producer Earl Carroll liked the frantic xylophone sound and asked Herman to play in his Vanities show. The next year was a busy one, the xylophone first set up with the Specht band for a two-hour shift beginning around dinner time, then packed up for a subway ride down to the evening Vanities performance. When that was over, the xylophone once again rode back uptown for dance sets with the Specht band. This still left time during the day for radio recordings with the Phil Ohman Trio. "I never stopped working," is Herman's basic description of the period. In 1924, he began two years of road tours with Carroll's show. After that Herman auditioned for an instrumental soloist's assignment with an ensemble known as the Eight Popular Victor Artists, among a series of evolving names. This was the pet project of vocalist Henry Burr, a giant of the early recording era who actually detested xylophone, but changed his mind after Herman played for him. While just about every business in America suffered during the Depression, there was amazingly something of a bubble of safety around a first-call xylophonist, as well as any other top radio performer. Herman established himself as a freelancer in New York City in the last years of the '20s, eventually signing on with NBC for $750 a week. Many xylophonists would love to get that salary 80 years later, and in the Depression it was a fortune. In terms of riches, it was out-matched by the talent the xylophonist consorted with, including performers such as Al Jolson, Bing Crosby, Frank Sinatra, the Dorsey Brothers, Benny Goodman, and George Gershwin. Herman was featured on early television programs such as Lucky Strike Orchestra and Hit Parade, Shell's Chateau Hour, The Major Bowes Capital Family Hour, Waltz Time, Manhattan Merry-Go-Round, The American Melody Hour, Tic-Tac-Dough, 21, Concentration, Yours for a Song, and Let's Play Post Office. Discographers have balked at the task of compiling all Herman events, claiming it is impossible, but virtuoso pianist Frank Banta was definitely his most important collaborator. Herman's first recording under his own name in 1927 was a duo with Banta entitled "Al Fresco." The duo went on to have its own television program, The Herman and Banta Show, which ran daily for a decade, resulting in many, many xylophone solos. When Herman retired from the network in 1966, he was the only xylophonist NBC still had on staff; and since he was the first guy they had hired, that meant he had outlasted everyone else. ~ Eugene Chadbourne, All Music Guide