Since my previous video (a great jazz performance) was rejected, let's try another orchestra and style. The above mentioned credits appear tp be a Ben Selvin pseudonym. Benjamin B. Selvin (New York City, 1898 - Manhasset, 1980) was a band leader from the Tin Pan Alley period. He was one of the most prolific musicians of all times: he recorded at least 9,000 songs and some estimates assume he made 13000-20000 recordings. Till the 1950s the album "Dardanella" was the best-selling one ever in the United States. Selvin was called the Dean of Recorded Music. Selvin was the son of Russian-Jewish immigrants. He played the violin at an early age in Charles Strickland's Orchestra, and debuted in 1913 on Broadway. In 1917 he led his first band and in July 1919 he recorded his first record for Victor, with his Novelty Orchestra: "I'm Forever Blowing Bubbles". The song immediately attained the position on the charts. His third released album, "Dardanella", recorded in November of 1920, was a massive hit. The album eventually sold over 5 million copies; moreover 2 million copies of the sheet music were sold. From 1920 on, Selvin not only released discs for Victor, but also Vocalion, Okeh, Paramount Records and Brunswick. A hit for Vocalion was "Yes! We Have No Bananas", sung by Irving Kaufman. From 1927 on, Selvin not only was a bandleader and arranger, but also A & R Director for Columbia Records, a post he would hold until 1934. By November 1927, when he signed this contract, he had an estimated output of 3,000 recorded songs. This number increased significantly during his Columbia years. Besides, he recorded under dozens of pseudonyms for many other labels (Okeh, Odeon, Parlophone, Harmony, Diva, Velvet Tone and Clarion). Many of the numerous records he made are well-executed pop songs with hot jazz solos by musicians like Manny Klein, Benny Goodman, Tommy Dorsey, Jimmy Dorsey, Joe Venuti, Eddie Lang, and Bunny Berigan. Today, many of those records are eagerly sought after collector's items. In 1935, Selvin was hired by Muzak Inc., for which he would work ten years. He co-founded Majestic Records, and in September 1945 he returned to Columbia, where he supervised the recording sessions with the young Frank Sinatra, Doris Day and others. In the early fifties, he worked in the music publishing Southern Music Company, and he was an A & R manager at RCA. In October 1955, he became the program director at the latter record company, a position which he held until his retirement in 1963. This excellent record was made in 1924.
Our Dancing Daughters is a 1928 American silent drama film starring Joan Crawford and John Mack Brown (later billed after a career decline as "Johnny Mack Brown"), about the "loosening of youth morals" that took place during the 1920s. The film was directed by Harry Beaumont and produced by Hunt Stromberg. This was the film that made Joan Crawford a major star, a position she held for the following half century. While the film has no audible dialog, it was released with a synchronized soundtrack and sound effects. Bland Johnson in the New York Mirror commented, "Joan Crawford...does the greatest work of her career." It grossed $1,099,000 worldwide. Song featured in this video is by Roger Wolfe Kahn......Lonely Little Bluebird 1928 (From "Our Dancing Daughters")....
During the 20's and 30's, Harry Reser not only played in a number of bands, but also led his own bands using an amazing number of pseudonyms. His bands recorded an incredible number of tunes in a variety of styles, but the pop tunes and novelty songs appealed to a wider audience, and are also among his best recordings. Harry Reser often arranged many of the songs that the bands recorded. Like in this video, many of the better songs feature vocals by Tom Stacks, who was also the drummer on many of these sessions. His voice has been described as having "a built-in grin". Another highlight of these recordings are Reser's banjo solos which show amazing clarity and technique, with a little jazz influence tossed in. The band most associated with Harry Reser was the The Clicquot Club Eskimos. This group was heard weekly on NBC radio network from 1925 to 1935 and brought Reser a degree of fame. This amazing record was made in 1927. Vocal by Tom Stacks and unidentified band members.
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 lovely recording was made in 1927. Vocal by a singer credited 'George Beaver' who actually is Harold 'Scrappy' Lambert. Unfortunately, this disc was quite worn, but i considered it too beautiful to discard.
Since I was unable to find much visual information on this musical I have used video clips of the dances of this era. The Girl Friend is a musical comedy with music by Richard Rodgers, lyrics by Lorenz Hart and book by Herbert Fields. This was the longest running show to date for the trio. The Girl Friend opened on Broadway at the Vanderbilt Theatre on March 17, 1926 and closed on December 27, 1926 after 301 performances. Produced by Lew Fields (Herbert's father), staged by John Harwood with musical staging by Jack Haskell, the cast starred Sammy White, Eva Puck and June Cochrane. White and Puck were married and well-known vaudeville performers of the time. Reviewers praised the humor, dancing, and the "captivating music." A cyclist trains on a wheel connected to a butter churn on his dairy farm. He is in love with the daughter of a professional cyclist. He is urged to enter a six-day race by questionable cycling promoter. Various gamblers try to cause him to lose, but he wins the race and the girl.
Horace Heidt (1901–1986) was an American pianist, big band leader, and radio and television personality. His band, Horace Heidt and His Musical Knights, toured vaudeville and performed on radio and television through the 1930s and 1940s. From 1932 to 1953, he was one of the more popular radio bandleaders. He began on the NBC Blue Network in 1932 with Shell Oil's Ship of Joy and Answers by the Dancers. During the late 1930s on CBS he did Captain Dobbsie's Ship of Joy and Horace Heidt's Alemite Brigadeers before returning to NBC for 1937–39 broadcasts. Heidt's 1939–41 radio show was adapted for this 1941 film. Singer Matt Dennis got his start with Heidt's band, and Art Carney was the band's singing comedian. The Heidt band's recordings were highly successful, with "Gone with the Wind" going to No. 1 in 1937 and "Ti-Pi-Tin" to No. 1 in 1938. In 1939, "The Man with the Mandolin" ranked No. 2 on the charts. His NBC Pot o' Gold radio show (1939–41) was the basis for a 1941 film of the same title. Produced by James Roosevelt (son of the U.S. president) and directed by George Marshall, the film starred James Stewart and Paulette Goddard, and it featured Heidt portraying himself with his band. Carney can be glimpsed in some of the film's musical numbers. The movie gives a fairly accurate depiction of Heidt's radio show. From 1940 to 1944 he did Tums Treasure Chest, followed by 1943–45 shows on the Blue Network. Lucky Strike sponsored The American Way on CBS in 1953. On December 7, 1947, NBC launched The Horace Heidt Youth Opportunity Program and accordionist Dick Contino, the first winner of the $5,000 prize, soon had his own show. Heidt's talent search catapulted such performers as Art Carney, Frankie Carle, Gordon MacRae, the King Sisters, Alvino Rey, Frank DeVol and Al Hirt. When the program expanded from radio to television in 1950, it was one of the first talent shows on TV. Other winners included the Philharmonics, vocalist Ralph Sigwald, and blind marimbist Pierce Knox. With fame, Heidt moved into the then-new Brentwood neighborhood of West Los Angeles at 1525 San Vicente Boulevard. He bought the mansion from the widow of a retired dentist, which offered stunning views of Santa Monica Canyon, overlooking the Riviera Country Club and Catalina Island on a clear day. The expansive chateau-style residence, featured in 1927 on the cover of the rotogravure magazine Pictorial California, has long since been razed and the property subdivided. For his contribution to radio, Heidt has a star on the Hollywood Walk of Fame at 1631 Vine Street; and a second star for his contribution to television at 6628 Hollywood Boulevard. In 2001, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to him. This hot recording was made early in his career, in 1928. The refrain is by a vocal trio consisting of Lewis, Bradshaw and Lykins. Unfortunately this record was very worn but I decided to share it since the song is rarely heard.
This appears to be one of the many California Ramblers pseudonyms. The California Ramblers were a popular and prolific jazz group from the 1920s, that recorded hundreds of songs under many different record labels throughout the 1920s. Three of the members of the band, Red Nichols, Jimmy Dorsey, and Tommy Dorsey, would go on to front big bands in later decades. The original bandmembers were from Ohio, but chose the name California Ramblers because they thought people would be less inclined to listen to a jazz band from the Midwest. The Ramblers Inn was named after the band and was in Pelham, New York. The band was instantly successful, and would remain well-known throughout the decade. They were one of the most prolific recording groups in the 1920s. The Ramblers recorded originally for Vocalion Records in November of 1921. In early 1922, the front man for the California Ramblers, violinist Oscar Adler, told their manager, Ed Kirkeby, that he, Adler, was going to take over as the band's manager and booking agent. Ed Kirkeby, who had a lot of pull in the New York music scene, had the B. F. Keith Circuit bar the Ramblers from playing in any of their restaurants, dance halls, or theaters. By the end of March 1922 the original band broke up. They made their last recording on March 16, 1922 for Arto Records. The banjo player and founder of the Ramblers, Ray Kitchenman, asked Kirkeby if the band could be reformed and suggested a band playing at Shanley's Dance Hall which was led by violinist Arthur Hand. Kirkeby agreed and the this new band of California Ramblers made their first recording on April 3, 1922 for the Emerson Record Company. In late 1924 the Ramblers signed a contract with Columbia Records and then, in conjunction with their manager Ed Kirkeby, agreed to waive all royalties to Columbia for the right to record for other companies under different names. They recorded for nearly every independent label in the U.S., Canada, and the U.K., using over 100 unique aliases. They weren't from Ohio necessarily — some were — but also from Pennsylvania. They played at Shanley's Dance Hall, The Monte Carlo, and the California Ramblers Inn and in 1928 at the McAlpin Hotel. Although they were not the first mixed band to record (the first was Jimmy Durante's Original New Orleans jazz Band in 1918 with light-skinned black clarinetist Achille Baquet), they were an early integrated band with light-skinned black trumpeter Bill Moore in the band from 1922 – March 1925 when he was replaced by Red Nichols. Bill Moore was billed as The Hot Hawaiian during his time with the California Ramblers. The California Ramblers were the first group to record the classic song "Has Anybody Seen My Gal?", in 1925, and many people in or associated with the band — Red Nichols, Jimmy Dorsey, Tommy Dorsey, Elwood Madeo Jr., and manager Ed Kirkeby — became some of the most famous and influential figures of the Big Band era. This excellent record was made in 1927. Vocal by Al White.
Cladys 'Jabbo' Smith (1908-1991) was known for his hot virtuoso playing on the trumpet. By age 10 was touring with the Jenkins Band. At age 16 he went to New York from about 1925 through 1928, where he made the first of his well regarded recordings. In 1928 he toured with James P. Johnson's Orchestra. In March 1935 in Chicago, Smith was featured in a recording session as Charles LaVere & His Chicagoans. In the 30s, Smith moved to Milwaukee, Wisconsin which would be his main base for many years, alternating with returns to New York. In Milwaukee he collaborated with saxophonist Bill Johnson. Subsequently, Smith dropped out of the public eye, playing music part time in Milwaukee. Smith made a comeback in the late 60s. Many young musicians, fans, and record collectors were surprised to learn that Jabbo was still alive. Smith successfully played in New York, New Orleans, Louisiana, London, and France through the 70s and into the 80s. This amazing recording was made in 1929.
This appears to be a pseudonym for Bob Haring, who 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 delicate performance was recorded in 1925.
This was a Nathan Glantz (ca.1860 - 1937) pseudonym. While little recalled now, Nathan Glantz was one of the better known U.S. orchestras. He recorded under a lot of pseudonyms among which were 'Hollywood Dance Orch.', Roy Collins' Dance Orchestra (1927), and the 'Continental Dance Orchestra' (1926 this name was also used by Joseph Samuels Orch.). Between 1923 and 1930, Glantz also recorded under the name of 'The Dixie Jazz Band' for the Challenge, Jewel, and Oriole labels, all subsidiaries of the Scranton (PA) Button Company. This great recording was made in 1923.
The Happiness Boys, consisting of Billy Jones and Ernest Hare, was a popular radio program of the early 1920s. It featured the vocal duo of tenor Billy Jones (1889-1940) and bass/baritone Ernie Hare (1881-1939) who sang novelty songs. Jones and Hare were already established as soloists on phonograph records. One of Jones's better solos was "Mary Lou," while Hare scored with the Yuletide novelty "Santa Claus Hides in the Phonograph." In 1920 recording executive Gus Haenschen had them sing an accompaniment on a Brunswick recording. They went on to do numerous recordings for Brunswick Records, Edison, and other companies. Similarities between the two singers were often noted: same height, same weight, birthdays a few days apart. They began on radio October 18, 1921 on WJZ (Newark, New Jersey), where they were sponsored by the chain of Happiness Candy stores. Listeners mailed in their comments about the singers on cards supplied to retailers by Happiness Candy. Beginning August 22, 1923, the Happiness Boys broadcast on New York's WEAF, moving to NBC from a run from 1926 to 1929. The duo sang popular tunes, mostly light fare and comic songs, and they engaged in humorous repartee between numbers. Their theme song was "How Do You Do" (1924). Dave Kaplan was usually the team's pianist on records. Fannie Heinline, regarded as the best American female banjoist at the turn of the century, made guest appearances on The Happiness Boys as banjoist and vocalist. By 1928, Jones and Hare were the highest paid singers in radio, earning $1,250 a week. They also made highly successful personal appearances in the United States and Europe. Jones and Hare specialized in comic songs that commented on trends and popular culture. One of their most pointed satires, recorded with a full orchestra, was "We Can't Sleep in the Movies Anymore." Jones and Hare kidded the "talkies", but were featured in A Movietone Divertissement (MGM, 1928) and Rambling 'Round Radio Row #4 (Warner Brothers/Vitaphone, 1932), both sound short subjects. Radio's "Happiness Boys" changed their identities and allegiance whenever they changed sponsors. For Taystee Bread, for example, Jones and Hare became "The Taystee Loafers," and for Interwoven Socks they became "The Interwoven Pair." Regardless of their affiliation, they continued with their songs and jokes through the 1930s. The partnership ended with Ernie Hare's death on March 9, 1939. Hare's 16-year-old daughter, Marilyn Hare, joined Jones at the microphone, allowing the act to continue as "Jones and Hare" until Jones's death on November 23, 1940. This great record was made in 1928.
The footage in this video shows this jazzband from Yale. Rudy Vallée is on alt saxophone and clarinet, before he became famous as a singer. As such, however, this orchestra is largely forgotten. Fortunately, I found some background information in an issue of the Columbia Daily Spectator of 24 February 1926. "Les Laden's Yale University Dance Orchestra (...), popularly known as the Yale Collegians, Laden's band has been making a name for itself at many Eastern college proms (...). The orchestra (...) has been rated as the best of the professional collegiate outfits and ranks well up with many of the other syncopating groups. Twelve pieces, under the direction of Les Laden himself, (...) combine efforts in playing for the dancing. (...) The Yale Collegians are planning a European tour this summer, following in the steps of many other noted American orchestras. The musicians specialize in novelty numbers (...)". This brilliant record was made in 1927.
This pseudonym was used by several jazz bands, but in this case it refers to the Mills Blue Rhythm Band. The band was formed in Harlem in 1930, with reedman Bingie Madison the first of its many leaders. It started life as the Coconut Grove Orchestra, changing to Mills Blue Rhythm Band when Irving Mills became its manager in 1931. At various times the same group was known as the "Blue Rhythm Band", "Blue Ribbon Band", "Blue Rhythm Boys", "The Blue Racketeers", "Earl Jackson's Musical Champions", "Earl Jackson and his Orchestra", "Duke Wilson and his Ten Blackberries", "King Carter's Royal Orchestra", "Mills Music Masters", "Harlem Hot Shots" and uncredited playing behind Louis Armstrong. The Mills Blue Rhythm Band were based at The Cotton Club in New York. They worked steadily through the 1930s deputizing for the Duke Ellington and Cab Calloway Orchestras; often taking their undesirable engagements. Violinist Carroll Dickerson briefly fronted the band, followed by Drummer Willie Lynch in 1931 and then compere Jimmy Ferguson (Baron Lee). Edgar Hayes, Eddie Mallory and Dave Nelson all had temporary stints as band leader until Lucky Millinder permanently took over the role in 1934. (During 1932, the year that Baron Lee fronted the band, they took part in many sessions that yielded 22 recordings; after Millinder took over, they recorded roughly twice as many recordings.) The band recorded 150 sides for a variety of labels including Brunswick, Columbia, Victor, the ARC stable of labels (including Oriole, Perfect, Regal, Romeo, Banner, Melotone, Domino), Variety, and Vocalion. Despite success with a few hit records (including "Truckin'" and "Ride, Red, Ride") and a strong lineup of talented soloists, the group never attained the prominence of their peers. This is often attributed to the lack of a single identifiable leader, and Irving Mills' preference to have the band perform an understudy role. The group disbanded in 1938. Millinder joined Bill Doggett's band before reforming it into his own orchestra in 1940. Irving Mills revived the Mills Blue Rhythm Band name for two recording sessions in 1947 under the guidance of Van Alexander. The only original band member at either of the 1947 sessions was trumpeter Charlie Shavers. Many of the Mills Blue Rhythm Band's recordings are now considered jazz classics by collectors. This great record was made in 1931. Vocal by Dick Robertson.
One pleasant summer's morning when all the flowers were springing O Nature was adorning and the wee birds sweetly singing O I met my love near Banbridge Town, my charming blue-eyed Sally O She's the queen of the County Down, the flower of Magherally O With admiration I did gaze upon this blue-eyed maiden O Adam wasn't half so much pleased when he met Eve in Eden O Her skin was like the lily white that grows in yonder valley O She's my queen and my heart's delight, the flower of Magherally O Her yellow hair in ringlets clung, her shoes were Spanish leather O Her bonnet with blue ribbons strung, her scarlet cap and feather O Like Venus bright she did appear, my charming blue-eyed Sally O She's the girl that I love dear, the flower of Magherally O I hope the day will surely come when we'll join hands together O 'Tis then I'll bring my darling home in spite of wind or weather O And let them all say what they will and let them reel and rally O For I shall wed the girl I love, the flower of Magherally O And let them all say what they will and let them reel and rally O For I shall wed the girl I love, the flower of Magherally O Music~Rowena Taheny
This appears to be a pseudonym for Joseph Samuels. Practically nothing seems to be known about him as a person, and the dates of his birth and death have long remained unknown to jazz historians. However, recent information in the "Bixography Discussion group" suggests that Samuels might have died in July 1953. An article published in May 1919 indicates he was born in Tennessee, studied under Campanari at the College of Music of Cincinnati, and was concert master for Henry W. Savage. He was mainly a reed player (playing clarinet, alto saxophone, and bass saxophone), but also played violin and made records as a soloist on the latter instrument accompanied by pianist Frank Banta. What is known beyond doubts about Samuels is that he was an extremely prolific musician during the years 1919 to 1925, at least on records (around 400 sides). Samuels' recording debut seems to have been with Pathé in January 1919. After this he went on to record for Emerson, Grey Gull and Arto in 1920, for Edison in 1921 and for Gennett, Federal, and Banner in 1922. From 1923 onwards, the mainly recorded for the latter labels and its associated labels such as Regal, Oriole and Domino. As usually on these low-budget labels, the recordings were issued under an array of bewildering pseudonyms such as "Majestic Dance Orchestra", "Hollywood Dance Orchestra" and "Missouri Jazz Band". Apart from these hundreds of peppy dance music recordings, Samuels also lead smaller recording groups playing in a more outright jazz idiom. Most of these latter sides were made under the names of Synco Jazz Band (49 recordings during 1919-1922, mainly for Pathé but also for Columbia and Grey Gull), Joseph Samuels' Jazz Band (40 recordings during 1920-23, mainly for Okeh but also for Paramount) and Tampa Blue Jazz Band (31 recordings for Okeh during 1921-1923). To these might be added some further seven sides waxed for Columbia in 1924 as Columbia Novelty Orchestra.The band's recording for Okeh of The Fives in March 1923 is considered the first orchestral recording of boogie-woogie. In particular for Okeh, these small jazz-oriented Samuels groups also accompanied several black singers, male as well as female ones including names such as Lucille Hegamin, Mamie Smith and Clarence Williams. These accompainments are among the earliest examples of racially mixed jazz recordings in the United States. For his dance band as well as his jazz group recordings, Samuels seems to have relied mainly on the same nucleus of fellow musicians, many of them nearly as little known as their leader. On trumpet Samuels generally had Jules Levy Jr. On trombone was Ephraim Hannaford; on piano Samuels had Larry Briers, of whom extremely little is known. He is however credited as co-composer on at least one of the tunes recorded by Samuels. As for the present, catchy tune, it was recorded in 1922. The side was quite rough shape delivering slightly distorted sound; still I found it too good to discard.
Sadly, this excellent orchestra is totally forgotten today. Charles Agnew (circa 1901 – October 25, 1978) was a popular dance-band leader. Most popular in the 1930s as a Midwestern territory band appearing in a sequence of hotel ballrooms, he enjoyed a long career that extended into the 1960s. Charles Agnew was raised in New Jersey. Agnew's band was primarily based in the Chicago area, where he was often engaged at the Aragon Ballroom, the Edgewater Hotel (with Irene Taylor on vocals) and the Stevens Hotel. With co-composers Charles Newman and Audree Collins, he wrote a song called "Slow but Steady" which was copyrighted in 1931. He appeared, alongside the Paul Whiteman and Gus Edwards orchestras, at the "Marathon Opera" which benefitted the Chicago Herald and Examiner Milk Fund. Through the 1930s his orchestra was heard nationally in the United States on the NBC Radio network. In 1933 he recorded several songs for Columbia Records, the most popular of which was "Don't Blame Me", the one presented in this video. The New Yorker magazine reviewed this recording as "richly played." Represented by the Musical Corporation of America, he spent the summer of 1936 playing at the Colonial Hotel in Indiana, where featured vocalists were Lon Saxon and Emrie Ann Lincoln. He continued to lead his dance band into the 1940s. During World War II he actively toured the country, playing for the benefit of enlisted personnel and continuing his hotel engagements. While many big band leaders disbanded, Agnew kept his unit together until the late 1950s. At that point he downsized to a smaller group, until retiring about 1968. Charles Agnew could play many different instruments, from disparate classifications. He was receiving treatment for cancer when he died on October 25, 1978 in Waukegan, Illinois. This wonderful record was made during his only session in 1933. Vocal by Stanley Jacobsen.