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The first records by this band were made under the credits 'Original Indiana Five' and many sources state this is a pseudonym of this outfit. However, personnel on the sides being credited Johnny Sylvester feature is partly different and extended. Personnel roughly included: Larry Abbott, Clarinet, Alto Saxophone; Charlie Bates, Piano; Tony Colucci, Banjo; Johnny Costello, Clarinet; Eddie Edwards, Trombone; Elle Evans, Trumpet; Harry Ford, Piano; Jimmy Lytell, Clarinet, Tenor Saxophone; Roy Madison, Piano; Tom Morton, Drums; Mark Martini, Trombone; Pete Pelizzi, Trombone; Johnny Ringer, Drums; Frank Reino, Banjo; Andy Sannella, Clarinet, Alto Saxophone; Johnny Sylvester, Trumpet, Leader; Joe Tarto, Bass Brass. This brilliant record was made in 1927.
Tom Gerun (né Thomas Gerunovitch) was a popular California based bandleader during the late 1920s and 1930s. His first recordings were released under the name of Tom Gerunovitch and his Roof Garden Orchestra in 1928 and 1929. Sometime in 1929 he shortened his last name to Gerun. In the late 1930s up until about 1959 he was the co-owner and manager of a night club in San Francisco. This great record was made in 1928. Vocal by Steve Bowers.
Chester Gaylord (1899-1984) was a vocalist and among the most active of recording artists in the United States during the late 1920s through the early 1930s. He was known as The Whispering Serenader on radio and on his phonograph records. He began his career as a singer and announcer for radio station WTAG in Worcester, Massachusetts in the early 1920s. Chester Gaylord's first recordings (in 1920) were saxophone solos for Thomas Edison, whom he had personally met. In 1923, he signed with Columbia records and made a number of vocal records for them. His popularity spread rapidly leading Brunswick Records (the second largest record company in the United States in the 1920s) to offer him an exclusive contract. He became one of the labels most prolific vocalists during the late 1920s. After the Warner Brothers bought out the Brunswick Record company in April 1930 a reorganization occurred and Chester Gaylord's contact was one of numerous artists whose contract was not renewed. Chester Gaylord continued to be popular on radio throughout the early 1930s until the introduction of swing music, in 1935, a type of music that was unsuitable to his style of singing. From 1929 to 1931, he was a featured vocalist on NBC radio on the Top Notchers Coca Cola Radio Program with Leonard Joy and his All String Orchestra. Gaylord moved to WBZ in Boston in the late 40s, and completed his broadcasting career there. He retired sometime in the mid-1960s. During his retirement years he lived in Sterling, Massachusetts. He regularly played 1920s and 1930s songs on piano at The Old Timer, and Irish Pub in neighboring Clinton, Mass. According to Gaylord's obituary, he was still performing right up until a few weeks before his death. This lovely song was recorded in 1929. The accompanying orchestra remained uncredited.
Although this disc was in poor shape, I decided to share it since this tune was rarely recorded. These credits appear to be one of Harry Reser's pseudonyms. 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 1926.
The abovementioned credits appear to refer to Meyer Davis, who was not really a bandleader in the normal sense, but a supplier of orchestras for society galas and such. He had several 'pick-up' bands out on dates at the same time. "High Society" loved him and he prospered catering to society. His bands are still greatly in use by present day 'society'. Meyer Davis was active all throughout the 20s, in fact his orchestra was so successful that ca. 1926, he was able to purchase The Willow Grove Park in Pennsylvania, where his own orchestra often performed for dances at the Park. Davis added many show novelties. This brilliant song was recorded in 1928, with Frank Luther on vocal.
Although nowadays largely forgotten, Ernie Golden and His Hotel McAlpin Orchestra was a very popular band in the 1920's. He also led other bands, a.o. Ernie Golden and the Pheasant Orchestra. Golden composed and performed in a variety of styles, e.g. the music for the show Artists and Models in 1930. as well as as "Toy Makers Dream" a novelty piece. This excellent record was made in 1927. The third picture shows the Edison Diamond Disc Supplement (Late 51900's, February to April 30 (May / 1927), featuring Ernie Golden on the cover.
Howard Lanin (1897-1991) was the third most prominent brother in a family of bandleaders. He 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 brilliant recording was made in 1925.
This appears to be a pseudonym fpr Ed Kirkeby (1891-1978), who was a bandleader, vocalist and manager., is best remembered as the manager of Fats Waller, he also managed the Pickens Sisters and worked in the band booking department at NBC. He was one of the first recording managers at Columbia Records to record jazz and organized the California Ramblers to record it. He used several pseudonyms for recording including Ted Wallace, Eddie Lloyd, Loyd. As Fats Waller's manager he also acted as his archivist building a collection which is held today by the Institute of Jazz Studies. After Waller's death in 1943 Kirkeby remained active managing many other groups and musicians.Vocal by Smith Ballew. He was an excellent singer who worked with the most diverse jazz and dance bands (Ben Pollack, the Dorsey Brothers...); when the Depression struck very harshly, he could no longer perform as a member of other bands, and founded several bands under his own name, before returning to the Dorsey Orchestra and a little later joning the Glenn Miller Orchestra. This excellent record was made in 1929.
Clifton A. Edwards (1895-1971), also known as "Ukelele Ike", was an American singer and voice actor who enjoyed considerable popularity in the 20s and early 30s. He also did voices for animated cartoons later in his career, and is best known as the voice of Jiminy Cricket in Walt Disney's Pinocchio (1940). Edwards taught himself to play ukulele (then often spelled "ukelele") to serve as his own accompanist (choosing it because it was the cheapest instrument in the music shop). He was nicknamed "Ukelele Ike" by a club owner who could never remember his name. He got his first break in 1918 at the Arsonia Cafe in Chicago, Illinois, where he performed a song called "Ja-Da", written by the club's pianist, Bob Carleton. Edwards and Carleton made it a hit on the vaudeville circuit. Vaudeville headliner Joe Frisco hired Edwards as part of his act, which was featured at the Palace in New York City, the most prestigious vaudeville theater, and later in the Ziegfeld Follies. Edwards made his first records in 1919. He recorded early examples of jazz scat singing in 1922. The following year he signed a contract with Pathé Records. He became one of the most popular singers of that decade, appearing in several Broadway shows. He recorded many of the pop and novelty hits of the day. In 1924, Edwards performed as the headliner at the Palace, the pinnacle of vaudeville success. Also in that year, he was featured in George Gershwin and Ira Gershwin's first Broadway musical Lady Be Good, alongside Fred and Adele Astaire. In 1925, his recording of "Paddlin’ Madeleine Home" reached number three on the pop charts. His recording of "I Can't Give You Anything but Love" was number one for one week on the U.S. chart in 1928. The following year, his recording of "Singin' In The Rain" was number one for three weeks. n 1929, Cliff Edwards was playing at the Orpheum Theater in Los Angeles, MGM hired Edwards to appear in early sound movies. Edwards was one of the stars in the feature Hollywood Revue of 1929, including the film debut of his hit "Singin' in the Rain". He appeared in a total of 33 films for MGM through 1933. Edwards's own compositions included "(I'm Cryin' 'Cause I Know I'm) Losing You", "You're So Cute (Mama O' Mine)", "Little Somebody Of Mine", and "I Want To Call You 'Sweet Mama'". He also recorded a few "off-color" novelty aongs for under-the-counter sales, including "I'm A Bear In A Lady's Boudoir" and "Give It To Mary With Love".Edwards, more than any other performer, was responsible for the soaring popularity of the ukulele. Millions of ukuleles were sold during the decade, and Tin Pan Alley publishers added ukulele chords to standard sheet music. Edwards always played American Martin ukuleles favoring the small soprano model in his early career. In his later years, he moved to the sweeter, large tenor ukulele more suitable for crooning, which was becoming popular in the 1930s. This lovely record was made in 1928, featuring an uncredited orchestra.
Garber founded his first band in 1918, which was the start for a career spanning more than six decades! Garber played violin with the Philadelphia Symphony Orchestra after World War I and formed the Garber-Davis Orchestra with pianist Milton Davis from 1921-1924.From the inital quartet later emerged a full-fledged 'hot band' in the 1920's; a 'sweet' band in the early 1930's through the early 1940's; a 'swing' band during World War II; and back to the 'sweet' style permanently in late 1945. Garber was known as "The Idol of the Airwaves" in his heyday of the 1920's and '30s. This excellent recording was made in 1925.
2 weeks ago
Little is known about this Crown house band. Pianist Russ Carlson led a series of fine dance-band recordings for them during 1929-1933. The soloists (who probably include trumpeter Mannie Klein, trombonist Miff Mole, clarinetist Tony Parenti, and tenor saxophonist Larry Binyon) mostly played melodically. This excellent record was made in 1930. Outstanding vocal by an uncredited vocalist who probably is Frank Parker.
2 weeks ago
Although Angelo Ferdinando seems to have recorded quite a few sides in the mid-thirties, nothing is known about this bandleader active in the New York area, who also regularly performed for NBC radio broadcasts. This lovely recording was made in 1935 and the vocalist is Bob Stanley.
2 weeks ago
Roger Wolfe (né Wolff) Kahn (Wolff being his middle name's original spelling) was born in Morristown, New Jersey into a wealthy German Jewish banking family. His parents were Adelaide Wolff and Otto Hermann Kahn, a famous banker and patron of the arts. His maternal grandfather was banker Abraham Wolff. Otto and Roger Kahn were the first father and son to appear separately on the cover of Time magazine: Otto in November 1925 and Roger in September 1927, aged 19. Kahn is said to have learned to play 18 musical instruments before starting to lead his own orchestra in 1923, aged only 16. In 1925, Kahn appeared in a short film made in Lee De Forest's Phonofilm sound-on-film process. Kahn hired famous jazz musicians of the day to play in his band, especially during recording sessions, for example Joe Venuti, Eddie Lang, Artie Shaw, Jack Teagarden, Red Nichols, and Gene Krupa. Kahn always had fun leading and conducting his orchestra. Reportedly, when the band was playing especially well he used to throw himself onto the floor and wave his legs in the air. However, in the mid-1930s, he lost interest in his orchestra and disbanded it. Instead, he preoccupied himself with aviation and eventually, in 1941, became a test pilot for the Grumman Aircraft Engineering Corporation, a well-known aircraft manufacturer. In 1931, Kahn made headlines on the New York society pages when he married musical comedy actress Hannah Williams January 16, 1931. The wedding was kept secret from the public for two weeks, until the Broadway show Williams was appearing in, Sweet and Low, had had its final performances. The couple made headlines again when they divorced two years later and when, after only a few weeks, Williams married boxing champion Jack Dempsey. Two days after the divorce, on April 7, 1933, Roger Wolfe Kahn married Edith May Nelson, a Maine politician's daughter. That marriage lasted until Kahn's death of a heart attack in New York City on July 12, 1962. This brilliant side, featuring a vocal by Libby Holman, was recorded in 1930.
3 weeks ago
Joey Nash was Richard Himber's usual vocalist in the earliest recordings. Himber studied the violin, celeste and vibraphone. After working with Sophie Tucker, he was with Jean Goldkette's orchestra from 1929 till 1934. He was a superb arranger as well. From 1934 on he had his own band, and would be leading several own ensembles from then on, and was very successful till the end of the 30's. This superb version was recorded in 1934. At that time, his band was actually called "Richard Himber and his Ritz-Carlton Orchestra".
3 weeks ago
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.
3 weeks ago
Hardly anything is known about this bandleader, apparently active in the Philadelphia era from the late 1920's through the 1950's. However, this obviously is a very skilful orchestra. This is a great record waxed in 1934, with Dick Robertson on vocal.
3 weeks ago
This is a quite atypical recording by Bob Haring's Orchestra, under a denomination obviously used for the more jazzy numbers. Although very prolific, he was very discreet, working away from the footlight. Finally I found a short biography, which I gladly include here. Bob Haring was born in Montclair, New Jersey on August 21, 1896. He attended both the University of Washington and the Seattle Conservatory of Music. He made his first recording as a bandleader for the Cameo label in 1922, and continued to record through 1931. He recorded under many different names, including the Lincoln Dance Orchestra, the Cameo Dance Orchestra, The Caroliners, the Colonial Club Orchestra, the Society Night Club Orchestra, the Dixie Daisies, The Detroiters, The Georgians and The Chicagoans. He worked as a radio conductor in the thirties, including a short job in 1936 on the Lucky Strike Hit Parade. He got away from performing in the late thirties, and eventually became musical editor at a publishing company. He was a composer as well as a bandleader, having written Dawn of Tomorrow; Concerto for Two; Fanny Tinkle and My Midnight Star. The present, hot recording was made in 1928.
4 weeks ago
The Merry Sparklers were an anonymous Edison studio band of which nothing is known. However, this side offers excellent solos both instrumentally and vocally. This remarkable disc was made in 1924. Vocal duet by Ed Smalle and Vernon Dalhart.
4 weeks ago
This was one of Reser's many pseudonyms. During the 20's and 30's, 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 Tom Stacks, who was also the drummer on many of these sessions, although he was not the vocalist on this side. 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 great record was made in 1927. Vocal by Vaughn De Leath (née Leonore Vonderlieth, 1894 - 1943), who was a famous female radio jazz singer who gained popularity in the 1920s and became known as "The Original Radio Girl" and "First Lady of Radio". She was also one of the early crooners. De Leath's vocals ranged from soprano to deep contralto and easily adapted to the Jazz and radio age in the 1920s. She had performed on the New York stage in the early to mid 1920s, but radio became her first love. In 1922 she began recording on different labels, including Edison Records. In 1928, she appeared on an experimental television broadcast and later became a special guest for the debut broadcast of Voice of Firestone Radio Hour. Her obituary in the New York Times incorrectly said she was 42 when she died, but she was actually 48. Prior to her death, she had considerable financial difficulty, complicated by the drinking problem which contributed to her early death.
4 weeks ago
In the 1910's the Admiralspalast in Berlin along the Friedrichstrasse was the only ice revue theater in the world, offering ballet performances on the ice. In 1923 director Hermann Haller took over the house, had it refurbished and opened in September 1923 as a revue theater with the revue "Drunter und drüber". It was the first of a series of very successful revues: "Noch und Noch" (1924); "Achtung, Welle 505" (1925); "An und Aus" (1926); "Wann und Wo" (1927); "Schön und Schick" (1928) and "Csardasfürstin" in revue adaptation (1930). In 1931 it became a regular operetta theater, closed temporarily in 1933, but reopened in 1935 as an operetta theater. Finally, in 1944, it became a cinema. This amazing performance was recorded during the famous revue years, more specifically in 1927. It features an instrumental version of a tune from the revue "Wann und wo". Hans Schindler is directing the orchestra.