Musicians shares their memories of Bill Peterson.

Russ Wapensky

“Bill Peterson enjoyed life. And life enjoyed having him around for 94 years. Whether it was as a musician, writer, union president, scuba diver, or occasional movie actor, he mastered those skills with enthusiasm and excellence.

He had an encyclopedic knowledge of music and especially the musicians he worked with for over 75 years. He could also discuss the horsepower capabilities of a Porsche or Corvette (he was driving a red Corvette into his late 80s) – or where the best martinis were served in Hollywood. He could drive around town and point out locations that were mentioned in Raymond Chandler’s Philip Marlowe books. Bill had an endless supply of serious and humorous knowledge that he generously passed on to his friends.

His lifelong companion was the trumpet, but he also wrote arrangements and could direct a band on recording sessions. He started as a teenager in San Bernardino playing in jazz combos or in R&B groups like Billy Larkin & His Reebops. During that time he got a rare opportunity to play behind Nat Cole at the Chi Chi Club in Palm Springs.

He served in the 775th Air Force Band at Davis-Monthan AFB in Arizona during the Korean War. A fellow airman in the band was the composer John Williams. They become lifelong friends. Bill liked to say that he and John “defended Tucson Arizona from the dreaded Red Menace.” On weekends, Bill would hitchhike 500 miles to LA to continue his trumpet studies with Louis Maggio.

Out of uniform in 1953, he enrolled in the UCLA music school, studying composition and playing pieces by Ravel, Stravinsky and Aaron Copland. During summer vacations he joined Matty Malneck’s show band at the Cal-Neva Lodge in Lake Tahoe and quickly roasted the position of lead trumpet. He played in shows featuring everyone from Frank Sinatra and Lena Horne to Jimmy Durante (“Whatta band! De’re so good dat dey don’t need music!” as Bill recalled him saying on stage).

Early on, he became a musical diplomat is resolving conflicts, soothing bruised egos in the band and mediating disputes between the musicians and “the star.” Good skills for the future in navigating the intricacies of union politics.

Back in LA Matty Malneck hired him to work at the Coconut Grove (the Coconut Grave according to Bill). During the 50s and 60s, the Grove was the premier place for every big name entertainer appearing in Los Angeles. By 1956 he was starting to get into studio work. His first “prestige” date was a Gordon MacRae session in 1959.

Between gigs and sessions, he was sidelining in TV and the movies. If you’re a fan of the Twilight Zone, look closely and you can see him in an episode called “Trouble With Templeton.” Eventually, he hit the road with Si Zentner, one of the top big bands still working at the beginning of the 60s.

By the mid to late 60s, he established himself in the recording studios as a first call trumpeter in a very competitive environment. Even though rock ‘n’ roll had taken over, he had no trouble fitting in. Surf music with the Dartells, lounge sounds with Wayne Newton & Mel Tormé, Top 40 hits from Jan & Dean, and into the 70s with Neil Young. Bill could handle for all types of music whether it was Doris Day, Andy Williams, the Buckinghams, as well as playing and arranging on the Flintstones and countless cartoons by Hanna Barbera during that period.

Then there were numerous movie scores including on screen acting appearances in Big Hand For The Little Lady and There Was A Crooked Man. Working with actors like Henry Fonda & Kirk Douglas. Adding to his experiences & anecdotes.

When Local 47 needed a new Business Agent to make sure musicians were getting the pay they deserved, Bill was an obvious choice. From there, he was elected Vice president and then President. He won every time he ran.

While in office, he created the Musicians’ Referral Service and oversaw the creation of Studio 47 at the Union. He was the first union president to realize the value of income from new use sessions when songs begin appearing in movies.

Thanks to him, hundreds of musicians got unexpected bonuses because Bill made it a priority to locate contracts and demand payment from the movie studios. When his day at the office ended, he often went out to visit musicians working on union gigs around town. He wanted them to know that their president cared about their working conditions, as well as enjoying their superb musicianship.

There are two books written by Bill that will give you the real story of what was happening in LA during those years: Show Business from the Back Row and the Long, Long Trail. Bill could write as entertainingly as he could talk. If you’ve read this far, do yourself a favor and order both books. It will be like sitting across from Bill in a plush red booth at Musso’s or the Smoke House. Bring your own martini.”

Ron Appel

“One of the most important people in my life has passed.

I met Bill Peterson when I was in high school and learned he was a studio trumpet player in LA – exactly what I hoped to be. So in the summer of ’76 I took a Greyhound bus to North Hollywood each week where Bill would pick me up, take me to his home and give me a trumpet lesson followed by a lesson in music composition and arranging. If he picked up a session after we’d scheduled the lessons, he’d take me to the session (so I could observe) then we’d head back to his home for the lessons. The first time this happened he took me to a session for Neil Sedaka. Another time it was Hanna-Barbera cartoons.

He was so generous to share his world with me. After I moved to LA to attend CSUN, Bill would invite me over to his home (now in Van Nuys) to ‘practice’ together as trumpet players sometimes do. But what really happened was I’d get a free 2-3 hour lesson followed by a 5 mile jog or a swim in his pool, then dinner with his family. Bill gradually changed from being my teacher to my mentor to friend, then family member. I sometimes babysat Bill’s kids or house sat for the family as they vacationed in Maui.

After his divorce I rented a room from him and we became roommates. For years we called each other ‘Ronald, Ronaldo, William or Guillermo.’ I’ll always remember one evening we were hangin’ out at his house when Bill said ‘Ronald, sometimes you seem like a son, sometimes like a brother, and sometimes like a friend’ and those feelings were mutual.

Years later, Bill was one of the trumpet players at my wedding. Following his playing career, Bill served 3 terms as President of Musicians Local 47. Bill taught me to not limit my dreams; to be creative in pursuing them; and that you’re never too old to laugh and be silly. Bill accomplished so much in his career and I was so in awe of him; he played on hit records, tv shows and movies. Bill told me his favorite experience was playing 1st trumpet and the solos on Neil Diamond’s soundtrack for ‘Jonathan Livingston Seagull.’ While it was exciting to have access to Bill’s career and the circle of musicians he worked with, the best part of knowing him was the relationship itself – and for that I will forever be grateful.”