I'm very happy to present this exquisite rendition in a recording (courtesy of phredl) by
I'm very happy to present this exquisite rendition in a recording (courtesy of phredl) by Freddy Martin & His Orchestra. Martin led his own band while he was in high school, then played in various local bands. After working on a ships band, Martin joined the Mason-Dixon band, then joined Arnold Johnson and Jack Albin. It was with Albin's "Hotel Pennsylvania Music" that he made his first recordings, for Columbia's Velvet Tone label in 1930. After a couple of years, his skill began attracting other musicians. One such musician was Guy Lombardo, who would remain friends with Martin throughout his life. There is a story about Lombardo and Martin. After graduation from high school, Martin accepted a job at the H.N. White musical instrument company. When Lombardo was playing in Cleveland, Martin tried giving Lombardo some saxophones, which proved unsuccessful. Fortunately, Lombardo did get to hear Freddy's band. One night, when Guy could not do a certain date, he suggested that Freddy's band could fill in for him. The band did very well and that's how Martin's career really got started. But the band broke up and he did not form a permanent band until 1931 at the Bossert Hotel in Brooklyn. At the Bossert Marine Room, Freddy pioneered the "Tenor Band" style that swept the sweet-music industry. With his own tenor sax as melodic lead, Martin fronted an all-tenor sax section with just two brasses and a violin trio plus rhythm. The rich, lilting style quickly spawned imitators in hotels and ballrooms nationwide. "Tenor bands", usually with just the three tenors and one trumpet, could occasionally be found playing for older dancers well into the 1980s. The Martin band recorded first for Columbia Records in 1932. As the company was broke and signing no new contracts, the band switched to Brunswick Records after one session and remained with that label till 1938. Afterwards Martin appeared on RCA's Bluebird and Victor Records. The band also recorded pseudonymously in the early '30s, backing singers such as Will Osborne. Martin took his band into many prestigious hotels, including the Roosevelt Grill in New York City and the Ambassador in Los Angeles. A fixture on radio, his sponsored shows included NBC's Maybelline Penthouse Serenade of 1937. But Martin's real success came in 1941 with an arrangement from the first movement of Tchaikovsky's B-flat piano concerto. Although his playing has been admired by so many jazz musicians, Freddy Martin never tried to be a jazz musician. Martin always led a sweet styled band. Unlike most sweet bands that just played dull music, Martin's band turned out to be one of the most musical and most melodic of all the typical hotel-room sweet bands. Martin also had a good ear for singers. At one time or another, Martin employed Merv Griffin, Buddy Clark, Terry Shand (also a pianist), Elmer Feldkamp (also a saxophonist, but who is singing the wonderful vocal here), Stuart Wade (his most impressive male singer), Eddie Stone (also a violinist), and many others. Helen Ward was a singer for Martin just before she joined Benny Goodman's new band. Ironically, as far as I know of, she was the only female singer to have appeared with Martin's band, recording two sides of a 78 in early 1934 with Freddy using the alias "Ed Loyd." In the 1950s and 1960s, Martin continued to perform on the radio and also appeared on TV. Untroubled by changing musical tastes, he continued to work at major venues and was musical director for Elvis Presley's first appearance in Las Vegas. Still in demand for hotel work, Martin entered the 1970s with an engagement at the Ambassador Hotel in Los Angeles. In the early 1970s, he was part of two long TV series of one-nighters that was known as The Big Band Cavalcade. Among the other performers on the show were Margaret Whiting, Bob Crosby, Frankie Carle, Buddy Morrow, Art Mooney and George Shearing. When the tours ended, Martin returned to the West Coast. In 1977, Martin was asked to lead Guy Lombardo's band when Lombardo was hospitalized with a heart condition. Martin continued leading his band until the early 1980s, although by then, he was semi-retired. Freddy Martin died in 1983. This fabulousl record was cut for Brunswick in 1934.
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Added: 11 hours ago
Views: 92
Unfortunately, I didn't even find concise information about this Chicagoan musician, bandl
Unfortunately, I didn't even find concise information about this Chicagoan musician, bandleader and composer, neither was I able to find out whether he is related to bandleader Roger Wolfe Kahn or composer Gus Kahn. According to Rust (information kindly provided by merrihew), however, in this case the credits may not refer to the actual Kahn band, but to an American Record Company (ARC) house band. In any case this delicate rendition was recorded for Melotone in 1932. Vocal by Dick Robertson.
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Added: 15 hours ago
Views: 65
With this upload, the complete discography of this unknown band is available on YT (check
With this upload, the complete discography of this unknown band is available on YT (check Victrolaman1's and my channel). I could hardly find any information regarding this group, except that it formed part of the Benson organization and that it was led by clarinetist and tenor saxophonist Eddie Neibaur. This fantastic record was made for Victor on August 2nd, 1926 (unfortunately they waxed only four sides). Further personnel included: Earl Baker and Marvin Hamby, trumpet; Leon Kaplan, banjo; Swede Knudsen, bass brass; Rosy McHargue, clarinet and alto saxophone; Richie Miller, drums; Bennie Neibaur, trombone, as well as Joe Thomas, piano.
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Added: 1 day ago
Views: 119
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Leslie Hutchinson (Hutch) (1900 -- 1969) was one of the outstanding cabaret singers of the
Leslie Hutchinson (Hutch) (1900 -- 1969) was one of the outstanding cabaret singers of the inter-war years. Born in Grenada, he was a favourite singer of the then Prince of Wales (later King Edward VIII). He came to England in 1927 and soon became the darling of Society as well as immensely popular with people in general. He was regularly heard on air with the BBC. One of his greatest hits was "These Foolish Things". He was a lover of Cole Porter, recording several of his songs, not least the evocative "Begin the Beguine" and Porter's famous list song "Let's Do It (Let's Fall in Love)." Hutchinson's father was the local church organist, starting out his son on lessons as soon the tyke was able to balance on the knee perch. Hutchinson headed to New York City in his teens, originally to get a law degree. His financial situation forced him into many day jobs but he also began playing the piano and singing in bars, coming up with a pleasant style and getting the chance to record by the mid-'20s. He began performing with the ensemble of Henry "Broadway" Jones, a black band that became a target of the dreaded KKK, which bent on burning down the band's accommodations. Hence, Hutch's decision to skip the country is understandable. He showed up in Paris when the so-called "jazz age" was in full swing. Joe Zelli's, one of the hipper clubs, offered Hutchinson a regular gig at which he was spotted by an impresario who subsequently presented Hutchinson in a Rodgers & Hart show at the London Pavilion in 1927. Hutchinson became a popular cabaret attraction in London. His records sold well through the late '40s and he continued performing on television and radio through the '60. This lovely record was made for Parlophone in 1934.
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Added: 3 days ago
Views: 145
Born in New York, Irving Aaronson learned piano from Alfred Sendry at the David Mannes Sch
Born in New York, Irving Aaronson learned piano from Alfred Sendry at the David Mannes School for music. His piano performances by the age of 11 could be heard in silent movie theatres. During the 1920s and the 30s, he directed two big bands and recorded with different record companies. The first group that was formed under his name was the Versatile Sextette in the early 1920s, later renamed or renewed under the name of the Crusaders Dance Band. In 1925, it was with this band that his first ever compositions were recorded with an underground record company. The band having success signed with the Victor label company where prior to their second music publication the band name was changed to Irving Aaronson and his Commanders. In 1926, they thus made their second album release, the first with the Victor recording company. During the period of time that they were signed under the label Victor (from 1926 to 1929), the band got a lot of success creating the well known Let's Misbehave, in 1927, and by Irene Bordoni's side, they appeared in Cole Porter's Broadway show, in 1928. Through the years, the band saw a number of good musicians such as Phil Saxe, Joe Gillespie and later to be known as band leaders were Artie Shaw, Gene Krupa and Tony Pastor. In 1935, he was the lead performer in the radio program Irving Aaronson Orchestra on NBC. At 45, the MGM studios hired him as a musical supervisor, after his musician career. Less notable appearance on television include his voicing of Mr. Nobody in the MGM's animation named Betty Boop for President. Some sources say he retired at 65, other have him working till his death. He died of a heart attack in 1963, at 68 years old. In terms of jazz, Aaronson's Commanders was most valuable as an incubator for musicians who would become significant, even dominant figures in the Swing Era. Artie Shaw, Tony Pastor and pianist/arranger Chalmers "Chummy" MacGregor all served in the earlier edition of the Commanders, and vocalist Kay Weber and Gene Krupa participated in the "swing" band. It is difficult to evaluate the later Aaronson group as its ARC records are so scarce, but the Victors often feature excellent, highly difficult arrangements, innovative ensemble choruses and effective, if short, solos. Based on the quality of their recordings, Irving Aaronson and his Commanders were certainly a much better group than the "funny hat band" some commentators, including Artie Shaw, made them out to be. Their recording of "Lets Misbehave" is practically synonymous with the free spirit and high times of the Jazz Age. This great performance was recorded for Victor on Februrary 6th, 1929. Vocal by Phil Saxe and chorus.
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Added: 4 days ago
Views: 194
Russian-born Sam Lanin was a very popular American jazz bandleader. Lanin's brothers, Howa
Russian-born Sam Lanin was a very popular 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 Arkansas 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, at some point or another, 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 Troubadours. 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 Troubadours. 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 super-stardom, and died in 1977 having never returned to music. Harold "Scrappy" Lambert (1901 -- 1987) was an American jazz band vocalist. He appeared on hundreds of recordings from the 1920s to the 1940s. He attended Rutgers University, where he was a cheerleader and played piano for a jazz group called the "Rutgers Jazz Bandits." He and fellow student Billy Hillpot formed a musical duo, which was discovered in 1926 by Ben Bernie, who signed them to perform with his orchestra. Lambert and Hillpot appeared on many recordings with the orchestra and remained under Bernie's employ until 1928. Other bandleaders who employed Lambert include Red Nichols, Frank Britton Wenzel, Fred Rich, and Sam Lanin. In the 1930s, Lambert and Hillpot took their comedy routine to the National Broadcasting Company, then a fledgling radio network. In 1943, MCA offered him a job overseeing their radio department in Beverly Hills, California. This marked the end of his singing career, and he worked for MCA until 1948. As for this lovely record, it was made for Lincoln on August 19th, 1927 (rec. date kindly confirmed by merrihew). Instrumentists included Red Nichols and Harry Reser.
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Added: 5 days ago
Views: 160
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Abe Lyman (1897 - 1957) was a popular bandleader from the 1920s to the 1940s. He made reco
Abe Lyman (1897 - 1957) was a popular bandleader from the 1920s to the 1940s. He made recordings, appeared in films and provided the music for numerous radio shows. His name at birth was Abraham Simon Lymon. Abe and his brother Mike changed their last name to Lyman because they both thought it sounded better. Abe learned to play the drums when he was young, and at the age of 14 he had a job as a drummer in a Chicago café. Around 1919, Abe was regularly playing music with two other notable future big band leaders, Henry Halstead and Gus Arnheim in California. In Los Angeles Mike opened the Sunset, a night club popular with such film stars as Mary Pickford, Norma Talmadge, Charlie Chaplin, Buster Keaton and Harold Lloyd. When Abe's nine-piece band first played at the Sunset, it was a success, but the club closed after celebrities signed contracts stating they were not to be seen at clubs. For an engagement at the Cocoanut Grove in The Ambassador Hotel on April 1, 1922, Abe added a violinist and saxophonist. Opening night drew a large crowd of 1500 guests in the Cocoanut Grove, plus another 500 more outside. After the band cut their first record under the local label Nordskog, they moved a year later to Brunswick Records where they made many recordings. The Lyman Orchestra 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, including Hold Everything (1930), Good News (1930) and Madam Satan (1930). In 1931, Abe Lyman and his orchestra recorded a number of soundtracks for the Merrie Melodies cartoon series. 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 and went into the restaurant management business. This great record, featuring the most popular band he led (Abe Lyman's California Ambassador Hotel Orchestra) was made for Brunswick on November 26th, 1928. Vocal by Paul (sometimes credited Phil) Neely. Instrumentists included: Al Newman, Gus Arnheim, Ted Dale and Carmen Cavallaro, piano; Al Baker and Louis Rapp, clarinet and alto saxophone; Eddie Dunstedter, pipe organ; Ray Lopez, Howard Fenimore, Red Pepper, Horace Smith and Fred Ferguson, trumpet; Dave Fink, Harry Podalsky aka Podal, Al Rickey, John Schonberger, Charles Kaley, Marty Gold and Dave Herman, violin; Murray Gaer and Gary Gillis, drums; Jake Garcia, brass bass and string bass; Horace "Zip" Keyes and Tommy Macey, clarinet and tenor saxophone; Ed Landry, string bass; Orlando "Slim" Martin, Warren Smith and Arthur Most, trombone; Frank Parrish, guitar; Charlie Pierce and Teddy Powell, banjo, as well as Jim Welton, clarinet, alto saxophone and flute.
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Added: 5 days ago
Views: 221
Irène Bordoni (1895-1953) was a singer and a Broadway theatre and film actress. Born in Aj
Irène Bordoni (1895-1953) was a singer and a Broadway theatre and film actress. Born in Ajaccio, Corsica, France from Italian family she had been a child actor, performing in Paris on stage and in silent films for a few years when she came to the United States in 1912. At age seventeen, she made her Broadway debut in a Shubert brothers production of Broadway to Paris at the Winter Garden Theatre. She also starred in Naughty Cinderella (1925) by Avery Hopwood. Irène Bordoni is probably best remembered from musical theatre as the star of the 1928 Cole Porter musical Paris that featured the song "Let's Do It (Let's Fall In Love)" which became Porter's first big success. Bordoni would record and sing many times live and on radio another Cole Porter song, "Let's Misbehave" with Irving Aaronson and His Commanders dance band. The song has been included on the soundtrack of five motion pictures including Everything You Always Wanted To Know About Sex (But Were Afraid to Ask) (1972), Pennies from Heaven (1981) and Bullets Over Broadway (1994). In 1929 her Broadway play Paris was adapted to a talkie, also called Paris, for which she reprised her starring role. The film used the Vitaphone sound-on-disc sound system and was shot in early Technicolor. That year Bordoni also performed a song for the Warner Brothers film The Show of Shows produced by Darryl F. Zanuck. In 1932 Max Fleischer featured her in his follow-the-bouncing-ball Screen Song cartoon 'Just A Gigolo'. Her status as a major star of the American stage was such that in his song "You're The Top", Cole Porter included the reference "You're the eyes of Irene Bordoni". During the 1930s, she continued to perform on stage and starred in another Warner Brothers musical comedy film. In 1940, Bordoni was part of another major Broadway success with the Irving Berlin musical Louisiana Purchase and again reprised her role in the Paramount Pictures film Louisiana Purchase (1941) with Bob Hope. She had another success in the role of "Bloody Mary" in the 1951 national tour of the musical South Pacific. The present romantic song also comes from "Paris". Miss Bordoni was accompanied by very atypical Irving Aaronson & His Commanders. Every reference to the great jazz sound of this orchestra is absent in this discreet, classically sounding score. Record was made for Victor on March 1st, 1928. Please note that I did the best I could to present good sound in this video despite the worn disc copy. In fact, the sound I posted was notably better; yet, as regularly happens, YT compression (instead of compressing the complete sound range) diminished the actual sound but blew up the surface noise.
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Added: 5 days ago
Views: 160
Fred Van Eps (1878 -- 1960) was a noted banjoist and banjo maker. The "Van Eps Recording B
Fred Van Eps (1878 -- 1960) was a noted banjoist and banjo maker. The "Van Eps Recording Banjo" was a well-known model until 1930. Van Eps learned to play the banjo and studied the phonograph cylinder recordings of Vess Ossman. In 1897 Van Eps was hired by Thomas Edison's National Phonograph Company in West Orange, New Jersey, working as a regular in studio engagements. Van Eps cylinder recordings, often remakes of Ossman tunes, sold well for Edison. Early ragtime banjo recordings by Van Eps included "A Bunch of Rags" (1900) and "A Ragtime Episode" (1902). He also recorded for a number of other companies, including Columbia (from 1904) and Victor (from 1910). His group the Van Eps Trio recorded steadily from 1912 to 1922. He also led other groups such as the Van Eps Quartet, the Van Eps Specialty Four, and the Van Eps Banjo Orchestra. The latter group was one of the first to record for the American branch of the French Pathé Frères Company in 1914. With Henry Burr, he formed a company that manufactured and sold the Van Eps Recording Banjo, modeled on the one he used in recordings and concerts. The banjo remained on the market until about 1930, when widespread use of electric recording removed the need for the loud volume produced by the Van Eps model. By the 1930s the banjo had fallen out of favor in popular music, and Van Eps switched to guitar, playing as a studio musician with Benny Goodman, Ray Noble, Red Norvo, and others. In the 1950s he attempted a comeback with a number of banjo recordings, before his death in Burbank, California at the age of 81. Van Eps also worked in vaudeville and influenced pre-bluegrass musicians like Charlie Poole and the North Carolina Ramblers. He was the father of jazz guitarist George Van Eps. This great recording was made for Edison (Blue Amberol #1549, Take 2, Mould 25) in August of 1912.
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Added: 6 days ago
Views: 189
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