Player mode on | off
Athos C. (Ace) Brigode (1893-1960) was a US dance band leader, who was especially popular in the 20s. His band started 1921 as Ace Brigode & His 10 Virginians, and was later renamed Ace Brigode & His 14 Virginians; this name stuck although the band varied between 9 to 19 members. The band played in "Collegiate Hot" style that to many people exemplifies the music of the "Roaring 20s". The most noted musician who played with Brigode was trombonist Abe Lincoln. Brigode hosted the White Rose Gasoline Show on radio, featuring his band. Brigode himself played violin and clarinet, but mostly acted as master of ceremonies. The band toured widely around the States. Brigode kept the band current with newer style arrangements in to the early swing music era, before disbanding the group in 1945. After this Ace Brigode worked as promotions manager for Cleveland, Ohio's Chippewa Lake Park, and did TV commercial voice work. This excellent record was made in 1925.
Abe Lyman (1897-1957) was a popular bandleader from the 20s to the 40s. He made recordings, appeared in films and provided the music for numerous radio shows. At the age of 14 he had a job as a drummer in a Chicago café. Soon after that, when his nine-piece band played at the Sunset in LA, it was a success, but the club closed. For an engagement at the Cocoanut Grove in The Ambassador Hotel on April 1, 1922, Abe added a violinist and saxophonist. Lyman's band toured Europe in 1929, appearing at the Kit Cat Club and the Palladium in London and at the Moulin Rouge and the Perroquet in Paris. Abe Lyman and his orchestra were featured in a number of early talkies. During the 1930s, the Lyman Orchestra was heard regularly on such shows as Accordiana and Waltz Time. When Lyman was 50 years old, he left the music industry. Many of his early recordings often were particularly hot. This record is from 1926. The vocal remained uncredited.
Nicole Kidman may have another Oscar in her future. The actress is in talks to play Grace Kelly in the new film "Grace of Monaco," which is already being compared to "The King's Speech."My Friends and Visitors, I present a montage of Nicole and Grace....Music is "Maybe It's Love", Leo Reisman 1930
| By Genia
James Kern ("Kay") Kyser (1905-1985) was a popular bandleader and radio personality of the 1930s and 1940s. Kyser graduated from the University of North Carolina at Chapel Hill with a Bachelor of Arts degree. He was also senior class president. Because of his popularity and enthusiasm as a cheerleader, he was invited by Hal Kemp to take over as bandleader when Kemp ventured north to further his career. Following graduation, Kyser and his band, which included Sully Mason on saxophone and arranger George Duning, toured Midwest restaurants and night clubs and gradually built a following. They were particularly popular at Chicago's Blackhawk restaurant. The act was broadcast on the Mutual Radio in 1938 and then moved to NBC Radio from 1939 to 1949. During the late 1930s and early 1940s, Kyser's band appeared in several motion pictures, usually as themselves. Unlike most bandleaders of the time, Kyser danced and sang with his band, as illustrated during the group's performance of "I Dug a Ditch" in Thousands Cheer and other film appearances. After the war, Kyser's band continued to record hit records. Kyser had intended to retire following the end of the war, but performance and recording contracts kept him in show business for another half decade. In 1949 and 1950, "Kay Kyser's Kollege of Musical Knowledge" aired on NBC-TV. After a four-year hiatus, the "Kollege of Musical Knowledge" was revived by Tennessee Ernie Ford, prior to the launching of his own NBC program, The Ford Show from 1956-1961. In the 1970s, Kay ran the film and television department of the Christian Science Church in Boston. As for this great record (featuring a very advanced orchestral sound, already referring to the swing era), it was one of his very first ones, made in 1929. Vocal by Sully Mason.
This was a '20s group mostly known for their association with the young pianist Harold Arlen, later to become one of America's greatest songwriters. In 1925 they left the city it was named after and headed on tour, stopping in cities such as Cleveland and Pittsburgh before finally hitting New York City for shows at the Palace Theater and Gallagher's Monte Carlo. The group began recording for many labels, as McLaughlin's Melodians, The Yankee Six, The Yankee Ten, The Merry Makers, The Beach Six, Six Black Dominoes, Jimmy Johnson's Rebels, Master Melody Makers, Lou Connor's Dance Orchestra, Yankee Ten Dance Orchestra (the alias used on this issue), the Savana Serenaders, the Carolinians, and Londynskiej Piccadilli-Jazz. The band broke up in New York City in the late 20s, This great record was made in 1926. Vocal by Harold Arlen.
Magnolia-Harry Richman on Bruns.3583B.Comedian with orchestra
Bob Haring was an American popular music bandleader of the 1920s and 1930s. Haring recorded 78rpm records under a plethora of orchestra names, such as The Caroliners, The Lincoln Dance Orchestra, The Society Night Club Orchestra, King Solomon and His Miners, and The Colonial Club Orchestra, in addition to his own Bob Haring & His Velvetone Orchestra. Haring's discography is difficult to trace, since many of the sides he performed on do not actually list his name. However, several dozen sessions on which Haring led or arranged an orchestra have been catalogued by discographers, mostly falling between 1920 and 1931. His recordings with The Colonial Club Orchestra were his most popular. This side however was recorded in 1926 un the abovementioned pseudonym.
Brooke Johns (né William Brooke Johns, 1893-1987) a successful jazz banjoist, who was already playing and singing in small time when the First World War broke out. He entertained in the Navy during the conflict, then came back to play night clubs, big time and presentation houses. He became one of the top stars of vaudeville and played banjo with the Ziegfield Follies in 1922 and 1923. In 1923, he also formed his own band, which he took on a tour to Britain, playing at the Kit Kat Club with Sophie Tucker and the Alhambra Theatre. For a time during his peak years he was partnered with Ann Pennington. More specifically, back in the US, in 1924 he starred along with Pennington and with his orchestra in the film "Mishandled". He would play a musician one more time in "That Old Gang of Mine (1925). In 1934 he retired (temporarily) to run a restaurant in the Washington DC area. In the 1950's Brooke Johns had his own family entertainment television show on WRC-TV channel 4 in Washington, D.C. Mr. Johns was also involved with the Maryland horse scene, developed the Brooke Manor Country Club (now a housing development). As for this excellent record, it was made in 1924, featuring a vocal by Brooke Johns himself. Surprisingly, despite the credits, this band actually was led by Jack Shilkret (younger brother of the famous composer, conductor and bandleader Nathaniel) had a career that paralleled Nathaniel's: he played clarinet and piano, recorded extensively, and conducted and played piano on the radio and in motion pictures.
Basin Street Blues (Spencer Williams) by Louis Armstrong Orchestra recorded on Buff Bluebird B5408A,Chicago,Ill,Jan.27-1933
Unfortunately my previous upload by the Casa Loma Orchestra was rejected, hence I try this catchy song. Howard Lanin (1897-1991) was the third most prominent brother in a family of bandleaders. Sam and Lester were the two most well known of the brothers. Sam became a very famous director of the 20s and early 30s who left us a huge amount of recordings, and Lester was a popular dance band leader from the 30s through the 90s. Howard entered music professionally in 1909 as a drummer in the orchestra at the Crystal Palace movie theater. He organized his first dance band of his own at 17 and spent the next 72 years leading bands. Although he often performed in New York and other East Coast cities as far south as Florida, he remained based in Philadelphia for most of his career. Lanin was called, "The King of Society Music." He led the Howard Lanin Orchestra, a group that performed show tunes, waltzes and sweet jazz. He recorded with various groups of his own, including the Benjamin Franklin Hotel Orchestra and played dances, industrial shows, and conventions for decades. The orchestras of the Lanin brothers gave a start to Red Nichols, Artie Shaw, The Dorsey Brothers and other jazz musicians. This great record was made in 1927. Vocal by Frank Harris, actually a pseudonym for Irving Kaufman (né Isidore Kaufman, 1890-1976), who was a prolific early twentieth century singer, recording artist and Vaudeville performer. The son of Russian Jewish immigrants, he was a member of The Kaufman Brothers, along with his brothers Phillip and Jack. Kaufman began recording in 1914, and recorded for Victor, Columbia, Vocalion, Gennett, Edison, Harmony, as well as all of the dime labels (Banner, Perfect, etc.). Early in his career, when recording for Edison and Victor, he recorded under his own name, but he also used a number of (non-Jewish-sounding) aliases. Sometimes, as in the case of several of his 1927 "Broadway Bell-Hops" vocals, he was merely credited as "Vocal Chorus". He was often credited as "vocal refrain by George Beaver" on the dime store labels. Kaufman was a singer in the vaudeville style; certainly not considered a jazz singer, he nonetheless sang on recordings accompanied by some of the foremost jazz figures of the 1920s, including Leon "Bix" Beiderbecke, Frank Trumbauer, The Dorsey Brothers, Red Nichols, Miff Mole, and Eddie Lang. (His voice recorded well - both acoustically and electrically - and was one of the most prolific singers during the 1920s). Kaufman retired after a heart attack in 1949, and made no further commercial recordings until 1974, when a 2-LP set titled Reminisce With Irving Kaufman was released. It consisted mostly of transcriptions of his old recordings, but included several new cuts of Kaufman singing, accompanied by his second wife, Belle Brooks (1904–93). Upon retirement he lived in Palm Springs, California.
The New Orleans Rhythm Kings were one of the most influential jazz bands of the early-to-mid 1920s. The band was a combination of New Orleans and Chicago musicians who helped shape Chicago Jazz and influenced many younger musicians. The band in its earliest stages was the brainchild of drummer Mike “Ragbaby” Stevens. Albert “Abbie” Brunies and his younger brother and trombonist George Brunies were initially hesitant but suggested the idea to friend, trumpet player Paul Mares, who immediately lunged for the opportunity. George Brunies picked up his trombone and set off to join Mares in Chicago, playing gigs and going to afterhours clubs with Paul Mares. They met some of their future band mates, drummer Frank Snyder, pianist Elmer Schoebel, and saxophonist Jack Pettis. The name “New Orleans Rhythm Kings” did not initially refer to this group, but rather to a group under the direction of a vaudeville performer by the name of Bee Palmer. Though Palmer’s group did not last, one of the musicians from the group, clarinetist Leon Roppolo, did. Within several months of Palmer’s group breaking up, Roppolo found himself playing on riverboats in Chicago with Elmer Schoebel, Jack Pettis, Frank Snyder, George Brunies, banjoist Louis Black and (possibly) Paul Mares. Mares found the group an engagement at a club called the Friars Inn, owned by Mike Fritzel. Bassist Arnold Loyocano joined forces with the growing band and thus began the group’s engagement at the Friar’s Inn that lasted 17 months beginning in 1921. During this time the group performed under the name The Friar’s Society Orchestra. While at the Friar's Inn, the group attracted the interest not only of fans, but of other musicians. Cornetist Bix Beiderbecke, who had been sent to school in Chicago by his parents in the hopes of removing any jazz influences, regularly attended New Orleans Rhythm Kings shows. He was often allowed to perform with the band. The group recorded a series for Gennett in 1922 and 1923. On two of these sessions, they were joined by pianist and composer Jelly Roll Morton. After their engagement at the Friar’s Inn ended, the New Orleans Rhythm Kings were largely scattered and disorganized. Though they would reform periodically, with significant member turnover (Roppolo and Mares were more or less the two ringleaders and constants of the group), to make recordings, the group never played all together again. They all went their separate ways: Paul Mares continued to play music, releasing a record in 1935 and ran the “P&M New Orleans Barbeque” with his wife in the late 1930s. Leon Roppolo was (and always had been) mentally unstable and spent the last years of his life in and out of institutions until his early death in 1945, though he managed to keep playing music as best he could. Most of the other members of the orchestra also kept successful musical careers after the group dissolved. This awesome record was made in 1925.
Manhattan Dance Makers (Ben Selvin) with Vocal Chorus - Hello Baby! Fox Trot (Simmons - Whiting) Harmony 1926 (USA; accoustical recording)
Here is another lovely song by one of Sam Lanin's many bands, this time under his own, abovementoned denomination. Sam (C.) Lanin (1891-1977) was an American jazz bandleader.Lanin's brothers, Howard and Lester, were also bandleaders, and all of them had sustained, successful careers in music. Lanin was one of ten children born to Russian-Jewish immigrants who emigrated to Philadelphia in the decade of the 1900s. Sam played clarinet and violin while young, and in 1912 he was offered a spot playing in Victor Herbert's orchestra, where he played through World War I. After the war he moved to New York City and began playing at the Roseland Ballroom in late 1918. There he established the Roseland Orchestra; this ensemble recorded for the Columbia Gramophone Company in the early 1920s. Sam recorded with a plethora of ensemble arrangements, under names such as Lanin's Jazz Band, Lanin's Arcadians, Lanin's Famous Players, Lanin's Southern Serenaders, Lanin's Red Heads, Sam Lanin's Dance Ensemble, and Lanin's Arkansaw Travelers. He did not always give himself top billing in his ensemble's names, and was a session leader for an enormous number of sweet jazz recording sessions of the 1920s. Among the ensembles he directed were Ladd's Black Aces, The Broadway Bell-Hops, The Westerners, The Pillsbury Orchestra and Bailey's Lucky Seven. He had a rotating cast of noted musicians playing with him, including regular appearances from Phil Napoleon, Miff Mole, Jules Levy Jr. and Red Nichols, as well as Jimmy Dorsey, Tommy Dorsey, Manny Klein, Jimmy McPartland, Bix Beiderbecke, Eddie Lang, Bunny Berigan, Nick Lucas and Frankie Trumbauer. Lanin did little actual playing on these records; his main contributions were clean, well-orchestrated arrangements and session directions. In addition to his recordings, he also played regularly on radio after 1923, and the Roseland Orchestra played on New York radio weekly every Monday from 1923 to 1925. He entered into a sponsorship with Bristol-Myers for their toothpaste, Ipana; as a result, his ensemble was renamed The Ipana Troubadors. In 1928 and 1929, Lanin recorded with Bing Crosby.The 1929 stock market crash hit Sam Lanin hard, unlike his brother Lester; in 1931, he lost his contract with Bristol-Meyers, his radio show and the name Ipana Troubadors. By the middle of the 1930s, Sam was spending much of his time cutting transcription discs. While his fame had waned, he was still well off from the money he saved in the 1920s and retired from the music business by the end of the 1930s. He was essentially forgotten at the same time Lester went on to stardom. He died in 1977, having never returned to music. This brilliant recording was made in 1927. Vocal by Irving Kaufman.
Although relatively forgotten today, Ray Miller was a well-known, extensively recording bandleader in the 1920s. Ray Miller's musical career started in 1916 when he was a singing waiter at the Casino Gardens restaurant in Chicago. Later, in New York, he started his first band called the Black and White Melody Boys. By 1922 Brown had returned to New Orleans. By the end of 1923, his band was playing the newest hits in the latest style and was offered an exclusive recording contract by Brunswick, The 1925 Brunswick catalog names Ray Miller's band as one of their exclusive artists and adds that they are playing a permanent engagement at "Broadway's new million dollar ballroom, The Arcadia". In September 1926, Ray Miller made his final recording in New York. His whereabouts till October 1927 are unknown but by that time he had moved to Cincinnati for an engagement at the Hotel Gibson. By this time Ray Miller had assembled a new band actually made records in Cincinnati too, and they turned out to be some of Miller's best; made by a Brunswick mobile recording unit, around February 1st 1928. In June 1928, Ray Miller still had the band at the Hotel Gibson, but by the time the next selections were recorded, the Cincinnati engagement had ended. Ray retired to Chicago where he had started his musical career nearly ten years earlier and again he formed a completely new band. On October 1, he opened at the College Inn of the Hotel Sherman. From January 1929, the band started a recurring series of special Brunswick transcriptions for the National Advertising Company. As for this great record, it was made during the latter session. Personnel: Ray Miller dir: Max Connett, Lloyd Wallen, t Muggsy Spanier, c / Jules Fasthoff, tb / Jim Cannon, cl, as / Maurice Morse, as / Lyle Smith, ts / Paul Lyman, vn / Art Gronwall, p, a / Al Carsella, pac / Leon Kaplan, bj, g / Jules Cassard, bb, sb / Bill Paley, d / Bob Nolan, v.
Where The Shy Little Violets Grow by The Earl Burtnett's L A Biltmore Trio on Bruns 4185.Thanks to the Biltmore Trio relative who sent me the Photos and info.
Layton & Johnstone - My Sweeter Thank Sweet, from "Sweetie", Columbia 1929
3 years ago
The Duncan Sisters with two pianos accompaniment by Mr. And Mrs. Charles Kisco - Dawning (Abner Silver /Maceo Pinkard) Victor 1927 (USA)NOTE: The Duncan Sisters are considered as one of the greatest sisters duett in history of the vadeuville stage. They were born in LA (Rosetta in 1896; Vivian in 1899) as daughters of a violinist turned salesman. They began their stage careers in 1911 as part of the cast of Gus Edwards' Kiddies' Revue. Their best known stage act was “Topsy and Eva” inspired by Harriet Beecher Stowe’s anti-slavery novel Uncle Tom’s Cabin. For several decades they performed not only on stage, but as night club entertainers in New York and in London and - not so successfully - in the movies. They remained active thru 1940/50s until Rosetta was killed in a car crash (1959). Vivien died of Alzheimer’s disease in 1986.
"They Didn't Believe Me" is a song with music by Jerome Kern and lyrics by Herbert Reynolds.First introduced in the 1914 musical The Girl from Utah it was one of five numbers added to the show by Kern and Reynolds for its Broadway debut at the Knickerbocker Theatre on August 14, 1914. The show had originated in Britain, but impresario Charles Frohman had felt it needed additional material to enliven its U.S. run. It became Kern's first major song success."They Didn't Believe Me" became a standard, featured in the 1949 MGM musical That Midnight Kiss where it was sung as a duet by Mario Lanza and Kathryn Grayson.Please see the link to my video featuring the above mentioned film.http://www.dailymotion.com/video/xsqkik_they-didn-t-believe-me-1949-that-midnight-kiss_musicThe Girl from Utah is an Edwardian musical comedy in two acts with music by Paul Rubens, and Sidney Jones, a book by James T. Tanner, and lyrics by Adrian Ross, Percy Greenbank and Rubens. The story concerns an American girl who runs away to London to avoid becoming a wealthy Mormon's newest wife. The Mormon follows her to England, but she is rescued from a bigamous marriage by a handsome actor.The piece opened at the Adelphi Theatre in London on 18 October 1913 and had an initial run of 195 performances. An American version was produced by Charles Frohman that had a successful run of 140 performances at the Knickerbocker Theatre, opening on August 14, 1914. Frohman hired the young Jerome Kern to write five new songs for the score together with lyricist Herbert Reynolds to strengthen what he felt was a weak first act. Julia Sanderson and Donald Brian starred in the production. Their song "They Didn't Believe Me" became a hit. The musical also toured in other countries, including South Africa, Australia and New Zealand."They Didn't Believe Me", with its conversational style and modern 4/4 time signature instead of the older waltz style, put Kern in great demand on Broadway and established a pattern for musical comedy love songs that lasted through the 1960s. It became a standard and has been recorded by many artists.This superb 1916 version is sung by Reed Miller and Grace Kerns.
Violinist Mike Speciale led several dance orchestras in the 1920's. He was also the office manager for Ray Miller's booking agency called Cosmopolitan Orchestras Inc.. They were credited for discovering the Mound City Blue Blowers, and also contracted with King Oliver and Ben Bernie. This outstanding record was made in 1929. The vocalists remained uncredited.
Sometimes it is our treasured dreams though they may be broken that get us through the most trying times in life and hopefully guide us to a bright new day. DREAM SHADOWS - Brunswick - 7402 From "Hollywood Holiday" 1935. Bebe Daniels originally sang this beautiful song in the stage musical "Hollywood Holiday" in which she starred in 1935. It proved to be her last American production as she moved to the UK with her husband after it closed.