[ Stan Brenders et "L'Orchestre Jazz de l'INR" ]
Starting on Jan. 1, 1936, Stan (the Belgian Henry Hall) led the Belgiam State Radio orchestra, 'L'Orchestre Jazz de l'INR'.

During the war years, Brenders disguised many American song titles to get around Nazi censorship. In May 1942, the band backed eight performances of Django Reinhart. In time, Brenders increasingly used Strings in the band. Stan was the pianist with Charles Remue and his New Stompers on their historic 1927 recording date.

      [ Walter Baumgartner u. s. Orch. ]
Currently no information available.
Recorded many of the Tangos by leader/composer Juan Llossas

      [ Billy Barton Orch. ] , 1920s - '30s
b. ca. 1890, USA, d. ca. 1933 USA
Instruments: Leader/reeds, and vocals
Please "click" here to view Billy Barton, entry on our British Bands Database. Barton was an American expatriate, who first built his career in England, but is probably better remembered for his work in the German music scene of the 1920s-'30s. He played as a sideman in the German orchestras of Alex Hyde, Julian Fuhs, Bernhard Ette, and Marek Weber, among others, before he formed his own band that, in the years 1930-'31, recorded for the 'Ultraphon' record label. Here's the Billy Barton mit sein Orchester (his 1930's German band) playing Japanese Sandman, with Billy doing the singing, in his native language, -American. The tune was originally a huge Paul Whiteman Orchestra hit of the early 1920s. (here's the original version, played by the Paul Whiteman Orch.) Berliners regarded Barton as a 'musicians musician', which was quite a compliment considering all the other fine, conservatory trained musicians who were working in Berlin at the time. Barton's band regularly participated in 'Das Goldene Saxophon' ('The Golden Saxophone'), which was actually a "battle of the bands" spectacular that attracted thousands of fans.

      [ Billy Bartholomew Orch. ]
b: Oct. 1, 1901, London, d: Jan. 19, 1972, London, England, UK
Instrument: alto saxophone.
Bartholomew had played, as a sideman, in England, Scotland and France before coming to Germany in 1924. In Germany, he first joined the Eric Borchard band (then playing in Hamburg, and Berlin). In 1925, he played in the Julian Fuhs Orchestra, (then resident at the Eden hotel, Berlin). In October 1927, he created his first band (the " Eden Five "). In 1928, "Billy Bartholomew and his Delphians " played at the opening of the Delphi Palast, and frequently played there in later years. He also played at such restaurants as Moka Efti, and the Atlantis among others), besides also recording. Here's a photo of Billy Bartholomew Orchestra. And now, let's listen to the Paul Whiteman hit (with Bing Crosby and the Rhythm Boys vocalising) "Changes", (516 kb). 'Billy Bartholomew's Delphians'. Rec'd: Berlin, June-July, 1928. DG 21599, Polydor 21599

In 1939, he returned to England. After WW II ended, Bartholomew found work as a Musical-Clown type of Entertainer.

      [ Erhard Bauschke Orch. ]
b: Sept. 27, 1912, Silesia Breslau, Germany (after 1945, called Wroclaw, Poland). d: Oct. 10, 1945, Frankfurt am Main Praunheim
main instrument: Clarinet.
Bauschke began his professional career in the early 1930s, in and around the Breslau to Berlin areas. He played here until 1935 in the Orchester James Kok. The Kok orchestra was dissolved when Kok, along with most of the band's Jewish musicians, fled to Romania to avoid Nazi persecution. After this dissolution of the orchestra, Bauschke, together with whatever former members were left, formed his own orchestra for a residency in the 'Moka Efti Stadtmitte'. And, here's a photo of Erhard Bauschke as he appeared there. At the start of 1940, due to the war obligations of the musicians, the orchestra had to be dissolved, and the name existed only as a (studio) recording orchestra. After the war Bauschke played in the Frankfurt am Main area, where he later suffered a fatal accident after an appearance. Recorded many times in the years 1936-1942.

      [ Heinz (Heinrich) Burzynski Orchester ]
b: June 17, 1910, Berlin, Germany. d: April 26, 1945, Berlin, Germany.
instrument: Pianist and composer.
Burzynski first worked as a pianist in different orchestras. In 1941, he formed his own orchestra which toured the fighting areas during World War II, bringing entertainment to the German soldiers. In 1941, the band was the pit-orchestra for the musical revue Liebe. They also worked in such other venues as the Pompeji Bar, the Tent 2 in the Zoo, and in the Delphi Palast.

Band members included the Belgian Jossee Breyere, and the Swede Folke Johansson both on trombones, as well as Omar Lamparter on tenorsax and others. The Rhythm section consisted of bassist Otto Tittmann, drummer Herbert Kysielka, and Burzynski on piano and created a good Swinging drive for the band. The band didn't feature any soloists, rather they played in a straight dance/listening music style - "section" playing as it is called, - no soloists were featured.

The orchestra was frequently resident at the cabaret 'Komiker', among other places. Here's a photo (Photo credit: Josef Donderer) showing Heinz Burzynski and Dorit Kreysler, as they appeared in Sept. 26, 1943, at the cabaret 'Komiker'. Though ill with a lung problem, Burzynski's orchestra continued to play for the German armed forces special services, and the band was regularly heard on the Berlin city radio station, as well as on the short wave transmitter; and recording.

      [ Willy Berking Orch. ]
b: Dusseldorf, Germany, June 22, 1910, d: Frankfurt, Germany, May 21, 1979
Studied classical music in Berlin, but in the early 1930s concentrated on popular music. In 1935, he joined Heinz Wehner's brand new orchestra, becoming its principal arranger and trombone soloist (although he also played bass and vibraphone). An accompished musician, he was much in demand in the studios and played with many famous bandleaders. In 1939, he was asked by the Imperial label to form a studio band with which he recorded 131 titles between April of that year and November 1943. At first the band was relatively small, concentrating around his solo trombone and singers like Rudi Schuricke, but more and more musicians were added and with the advent of "Berking's Spitzenserie", a number of original compositions, Berking used a full bigband. Initially, Berking tried to create a "German" kind of dance music (propaganda minister Goebbels having declared German popular music on a par with classical music) with mixed results. As time passed his recordings increasingly became more big band jazz oriented and he used good soloists like Benny de Weille (alto/clt), Primo Angeli and Tip Tichelaar (pno) and Freddie Brocksieper and Harry van Dijk (dms). A good deal of the bands time was spent on accompanying singers, some good (Rudi Schuricke and Horst Winter) and some less than good (eg. Iska Geri and Harald Paulsen). Well arranged and played, Berking's records sold in fairly large numbers in war-torn Germany. In 1942 Berking became involved in the Deutsche Tanz- und Unterhaltungsorchester, a large radio orchestra, as composer, arranger and trombonist. Because of the heavy bombing raids on Berlin, this band was transferred to Prague in 1943 and as a consequence Berking's studioband was broken up. After the war Berking built himself a splendid new career through his leadership of the dance orchestra of the Hessian Broadcasting Corporation (Hessischer Rundfunk), which he led till the early 1970s.
The BigBands Database thanks Mr. Joost Kiefte for this entry on Willie Berking

      [ Hans Bund Orchester ]
b: August 15, 1898, Neunkirchen (Saarland), Germany. d: Feb. 1, 1982, Rottach Egern, Germany.
Main instrument: Piano.
As a child Hans received piano instruction from his father, who was a music teacher in Saarbruecken. Later he studied in Cologne with pianist Elly Ney, as well as in Frankfurt at the Hoch' conservatoire, and later with Ernst von Dohnanyi at the university for music in Berlin (piano, organ, counterpoint, composition, directing), where he remained until 1919 passing the exam with honor. In the early 1930s, he formed an orchestra (he played piano) for an engagement at the Berlin Kabarett 'Sound and Smoke'. But basically, his orchestra was used exclusively for recording and broadcasts. In 1942, Bund took over the orchestra of Otto Dobrindt. After 1945, Bund structured a new orchestra with the NWDR in Cologne. In 1947, he formed a smaller WDR 'Unterhaltungsorchester' of the WDR, which he led until 1962. His old age was spent in Bavaria, where he wrote numerous compositions, -mostly "elevator" type music for factories and businesses.

      [ Ben Berlin's Orch. ]
né: Hermann Bick.
b. 1900, Tallinn, Estonia, d. ? Hollywood, CA, USA)
Instruments: bandleader, pianist, and arranger
This Estonian citizen was touring all over Europe in the early part of the 1920s eventually settling in Berlin, Germany when he found work as the Vox recording company's Musical Director. In the decade of the 1920s, he recorded as leader of his own dance band, and also recorded some piano novelty solos. From time to time, some fine 'hot' soloists worked in his band, including Danny Polo, Billy Barton, Louis de Vries, and RenT Weiss. In 1933, When the Nazis came to power, he left Germany and first toured in Europe, and finally emigrated to the USA, where he found work the the Hollywood studios.

Among his hit recordings are:
"Button Up Your Overcoat" was recorded in 1929.
"You're The Cream in my Coffee (1929, Grammophon 22401)
"Piccolo Pete" (1929, Grammophon 22899).

      [ Eddie Brunner Band ]
(old "The Original Teddies")
b: d: Berne 1956
Brunner was a fine musician. His band's 1940's Swiss Elite Label recordings used some very original scores, and exhibited good technical expertise in their execution. It should be noted that the band also featured clarinetist Ernest Hollerhagen - who chose to exile himself from Germany rather than serve in the German army. In the late 1940's, when the band era was coming to a close, declining economic opportunities forced Eddie to disband.

      [ Gustav Brom Orch. ] - ( Orchestr Gustava Broma )
b. May 22, 1921, d. September 25, 1995,
né: Gustav Frkal
Here's a photo of Gustav Brom, "...who started his Band in 1940 and conducted it until his death in 1995. with the end of World War II, Brom's band performed in Brno and Bratislava and in Switzerland (1947). During that time, some of the musicians who played in the band include Karel Krautgartner (who later led his own band), ,M.Bartek, A.Smíd, J.Hnilicka, Z.Novak, J.Audes, S.Vesely, J.Kulisek, L.Hulan, J.Audes, O.Blaha, B.Horak, J.Pelc, Milan Rezabek M.Bartek, J.Formanek.and others. Among the guest artists who performed with the band include British singer Gery Scott, German pianist Igo Fischer, Czech singers Karel Gott, Helena Vondrackova and Hana and Petr Ulrych (aka Ulrychovi) and Greek sisters Tena and Martha Elefteriadu. In the 1960s American jazz polls rated Brom’s band as one of the top ten big-bands in the world. The Band is still playing. During it's long existence, Band cooperated with such famous names as Maynard Fergusson, Dizzy Gilespie, Diana Ross & The Supremes, Ray Conniff, Ben Crame, Bill Ramsey, Shirley Bassey and many more. In 1960, the orchestra was named among the 10 best world Big Bands. You can find Gustav Brom Big Band in more than 500 music records."
The Big Bands Database Plus thanks Ms. Patrycja Twardowska, for the above information on the Gustav Brom Orchestra.

      [ Giampiero Boneschi e il suo Compleso ]
Boneschi was born in 1927 and had his own group in the 1940s, as well as playing with others. He was also one of the members of the 'Trio Gambarelli - Mojoli - Boneschi'. Some of his work can be heard on a recent RJR CD release.
For more information on this recording, please contact:
Riviera Jazz Records, P.O. Box 8031 - 00188 Rome, Italy.
eMail: montefalasco@tiscalinet.it

      [ Dajos Béla Orch. ]      aka: Clive Williams Jazzband      aka: Sándor Jószi
b: Dec. 19, 1897, Kiev, Russia. d: Dec 5, 1978, La Falda, Córdoba, Argentina
né: Leon Golzmann
Instrument: Violin.
In addition to the above names, Golzman also recorded as "The Odeon Five" (in 1926), which was a subset of Dajos Bela's Tanzorchester. They also recorded under the names of "Mac's Jazz Orchestra", "Dajos Béla - Künstler-Orchester", and "Orquesta Tzigana Dajos Bela".

In the early 1920s and '30s, his was one of the "classical" hotel orchestas (the Adlon, Excelsior, etc.), where he played with an all-around repertoire, from Jazz hits up to more classical material. His orchestra was among the most popular bands during the Weimar Republic regime of Germany. He was called by some, 'the German Paul Whiteman'.

In 1931, the orchestra won the "Das Goldene Saxophon" prize, - a popular competition between orchestras in those days (a "battle of the bands"). Among the men playing in his orchestra were the English trumpeter Howard McFarlane, pianist Franz Grothe, and guitarist/banjoist Harold Kirchstein. (In 1936, Kirchstein contributed music to the film Verräter, aka The Traitor in the USA, and to two films in 1937, Menschen ohne Vaterland, and Togger. He also composed some Pop songs.)

In 1933, when Hitler and the Nazis took over Germany, Béla, who was Jewish, escaped and moved firstly to Paris, France, and later further to Argentina where he, among other things, composed film music. Here's a photo of Dajos Béla, who occasionally recorded under several other names including Sándor Jószi (another Hungarian name, Odeon label), and under the name of Clive Williams Jazzband (Odeon label).

Some biographers have stated that he also used the name of Joseph Plaut. However, one researcher, Dr. Dieter H. Meyer, Nürnberg, feels that this is wrong. In private correspondence, he has said that the error seems to be due to the fact that Joseph Plaut once appeared (perhaps in a speaking role) with the Dajos Béla orchestra in a performance called "Jazz in Crimmitschau", which was recorded by the Odeon label. Dr. Meyer feels that it is possible that the Odeon label may have accidentally listed the band as that of Joseph Plaut, instead of listing it correctly as the Dajos Béla orchestra. (Please see our July 5 Calendar for more information on Joseph Plaut.)

In addition, Dr. Meyer also pointed out an interesting discrepancy, in the alphabetical context, of the name Dajos Bela. Dr. Meyer mentioned that

       " ....It is not known how Leon Golzmann came by the name Dajos Béla. Had it
       been an authentic Hungarian name, then in accordance with Hungarian language
       customs, it would have been written with the first name at the end (Béla is a common
       Hungarian first name), thus it would be shown as "Dajos, Béla." However, many
       other languages list the name as "Bela, Dajos"

Bela was very strongly influenced by Fletcher Henderson, and this influence manifested itself in such recordings as "Deep Henderson" and "Say Mister, Have You Met Rosie's Sister".

While in Argentina, Bela was on the staff of Radio El Mundo, and one of the singers who appeared with his band was Dorita Davis, (photo source unknown) who at the time was also on the staff of Radio El Mundo. ( Dorita also sang with Carlos Gines, Juan Bernabé Ferreira, Estos dos Últimos Locutores de LR1, y La Pareja de Animadores Enrique Rando y Mary Froio.)
The Big Bands Database Plus thanks Dr. Dieter H. Meyer for all his help with the above Dajos Bela entry.

      [ Freddie Brocksieper Orch. ]
b: August 24, 1912, Istanbul, Turkey
Brocksieper grew up in Turkey as the son of a German engineer, and a Greek-Turkish mother. After WW I the family moved to Munich, Germany. In the late 1920's, Brocksieper gave up school to become a professional musician. He specialised on the drums and played in various local bands. In 1933 he joined the band of the Regina Palast Hotel, in Munich, with which he remained intermittently until 1939. In the summer of 1939 he traveled to Berlin for an engagement in the Atlantic Bar, but the outbreak of WW II cut the gig short.

Throughout the war "Brocksie" as he was called, was a much sought after musician playing in numerous studio bands. He also became the permanent drummer in the dance orchestra of the Deutscher Kurtzwellensender (German shortwave radiostation), directed by Lutz Templin. When the band accompanied Karl "Charlie" Schwedler they were dubbed "Charlie and his Orchestra". The Templin band was a very good dance orchestra (which also recorded commercially), but its Jazz-qualities (certainly in connection with Charlie) are generally over-rated.

In 1941 , when asked by Deutsche Grammophon to form combos for recording purposes, Brocksieper set out to prove that Jazz and Swing music could be played by Germans in Germany. He engaged some of the best soloists (Eugen Henkel, Detlev Lais and Teddy Kleindin on tenorsax, Fritz Schultz-Reichel, Georg Haentzschel (b. Dec. 23, 1907, Berlin, Germany, d. April 12, 1992, Cologne, Germany) , and Belgian trombonist Josse Breyre). The rhythm section of Otto Tittmann bass, Primo Angeli piano and harpsichord and Freddie Brocksieper on the drums gave the band an excellent drive and vitality, and the arrangements by the Belgian (Dutch?) pianist Hans Vlig van der Sys didn't hurt either. They recorded some fine smallband Jazz. One interesting sidenote is that Brocksieper followed violinist/leader Helmut Zacharias' innovation, -using a harpsichord in a Jazz ensemble. (Later, Primo Angeli, the pianist/harpsichordist married a German Pop singer and had settled permanently in Berlin. After the war, he remained in Germany and appeared in Berlin night clubs on and off as a pianist specializing in Boogie Woogie. Angeli died in 2001.)

On several occasions "Brocksie" put together somewhat unusual big bands that consisted of five trumpets, four trombones and a rhythm section - no reeds. Although the soloists, ably assisted by a nimble rhythm section, were quite good, the section-work on the first bigband sides was somewhat rough and unswinging. The daring and, for the time, very advanced recording of a baroque boogie woogie theme (played by Italian pianist Primo Angeli on the harpsichord) called "Cymbal Promenade" (summer 1943), is a good example of what this band at its best could do. However, it got Brocksieper into grave trouble with the Nazi authorities and he did not record as a leader again until well after the war. He spent the remainder of the war in Templin's band.

Soon after peace broke out he assembled another combo which played increasingly modern Jazz. His greatest popularity came in the 1950s, living in Munich and taking part in many jam-sessions and accompanying American Jazz-musicians visiting Germany, such as Lionel Hampton. Largely forgotten after the 1960s, he is only now becoming recognised as one of Germany's most important and influential early Jazz musicians.
The Big Bands Database thanks Mr. Joost Kiefte for this entry on Freddie Brocksieper.

      [ George Boulanger Orch. ]
b.: April 18, 1893, Tulcea (Romania), d: June 3, 1958, Buenos Aires (Argentina).
When he was 5 years old, Boulanger began studying the violin with his father. Later, at the conservatoire in Bucharest. His studies continued 1908-1910 in Dresden with Leopold Auer. After first successes in St. Petersburg, Russia and his homeland Romania, Boulanger came to Germany in 1923, and played there predominantly for Russian emigrants visiting the Foerster restaurant. Later this violin virtuoso became famous and played in numerous restaurants. Here's a photo of the George Boulanger Orch., At this time he was active composing songs, ("there Capo", "Avant de mourir", etc..) In 1948, Boulanger left Germany and lived and played first in Brazil, and then lastly in Argentina till his demise.

      [ Hilmer Borgeling Orch. ]
Currently no information on this Swedish dance band.

      [ Arthur Briggs and His Savoy Syncopators ]
Trumpeter, Leader.
b: April 9, 1899, Charleston, S.C., USA, d: July 15, 1991, Chantilly (suburb of Paris), France. (kidney failure). Age: 92 (His exact date of birth is unknown. some sources say born Sept. 4, 1901. some say he was born in Canada. )
It is known that he spent his childhood and adolescence in Charleston, SC, USA, where he took music lessons from Eugene Mikell, a music master at an orphanage. Not too well remembered now but Arthur's cousin was tuba player Pete Briggs, who recorded with Louis Armstrong's Hot Seven in 1927. During World War I, Arthur was too young to be shipped overseas, but did perform in the 369th U.S. Infantry Band. Arthur's friend, Dan Parish, helped him to freelance in the New York city jazz scene and even into the recording studios as a sideman with Wilbur C Sweatman's band, in 1919. Curiously, Briggs does not show up in the line-up for Sweatman's recording sessions, although Don Parish does. Later that year he sailed for Europe as a member of Will Marion Cook's Southern Syncopated Orchestra which included Sidney Bechet. The group toured England and France, returning home in 1921. In the U.S., Briggs played briefly with Leslie Howard's Orchestra before returning to Europe in 1922, where he formed his own 'Savoy Syncopated Orchestra' which was based in Belgium. Briggs would spend most of his life living in Europe, becoming virtually forgotten in America,

Here's a photo of Arthur Briggs' Savoy Syncopators Orchestra, (photo source: unknown) with Tenor Saxist Mario Scanavino, Pianist Egide Van Gils, banjoist Alston Hughes, Arthur Briggs (tpt), drummer Albert Refurt (b. Guadeloupe), Bertin Salnave (Sax, flute, b. September 5, 1892, Port-au-Prince, Haiti, originally heard in France as a member of "Will Marion Cook's Southern Syncopated Orchestra"). Albert Refurt was still with the "Savoy Syncoptors Band" when they toured Germany and Austria in 1923.

In 1922, Sidney Bechet's group replaced the Jazz Kings at London's Embassy Club. The Bechet group had Bechet, trombonist Jacob Partick, Andy Clark on drums, George Clapham on piano and Arthur Briggs on trumpet. Shortly ofterwards, Briggs again formed his own group. Here's a photo of the Savoy Syncopators Playing in Vienna in 1923 (the photo is a 'still' from the film "La Poupée de Pari").

Admired for his technical virtuosity and clear tone, he worked on and off in the United States and Europe for 10 years before finally settling in Europe in 1931. During 1926-'28, his band was heard playing in Vienna and in Germany. Listen now to Arthur Briggs playing "Bugle Call Rag", (595 kb) Recorded: 1927. And, one may also listen to Arthur Briggs and His Savoy Syncopators playing "Who-oo, You-oo", with Al Bowlly singing, as recorded in Berlin, 1927. During 1928-'30, Briggs worked, off and on, with Noble Sissle, touring Europe. In 1931, Briggs and Sissle briefly returned to the U.S.A, before again returning to Europe. At first, Briggs co-led a band with pianist Freddy Johnson before forming some of his his own groups, In 1935, he recorded with Coleman Hawkins and Django Reinhardt, and was considered one of the best trumpeters in Europe, even playing in Egypt.

During World War II, he was arrested during the Nazi occupation of France, but fortunately survived his imprisonment in a Nazi concentration camp. When the war ended, he again organized a band (in 1945), that was active into the mid-1960s, when he retired from active touring, and begain teaching music in Chantilly, France. Curiously, most of Briggs' recordings are rather obscure today, even though he recorded over 70 times, - including 64 selections in Berlin during 1927. Even famed vocalist Al Bowlly recorded some 30 sides during 1927 and 1928.

In July 1927, Bowlly made his first vocal recording with Arthur Briggs Savoy Syncopators, Here it is! "Song of the Wanderer"., (438 kb), with a nice solo by Bowlly on his guitar too.

In the years between the two world wars, Arthur Briggs, was one of Paris's most popular jazz musicians He died in 1991, about age 92..

      [ Dalibor Brazda Magic Strings ]
b. September 9, 1921, Frystak, Czechoslovakia, August 17, 2005, Dietikon (near Zurich), Switzerland,
He first studied the bassoon at the conservatory in Brno (JAMU) and the Academy of Music in Prague (AMU). Interestingly, he began his career playing simultaneously in two orchestras, -Czech Chamber Orchestra and the orchestra of the National Theatre of Prague. Still later, he played in the Czech Philharmonic, and the Filmorchestra-Concert (FOK). Up to this point, he was a player, but then, as a student of the famous conductor Rafael Kubelik, he was able to start a career as conductor at Karlin Theatre Prague, where he remained for 20 years. During this time, he also appeared briefly in New York where he conducted Geoge Gershwin's opera " Porgy and Bess".

All through the 1950s and 1960s, in Prague, he was also working as an arranger for the Supraphon label. . His lush string arrangements for this label were heard backing such stars as British singer Gery Scott, German pianist Igo Fischer and Czech singer Karel Gott. His orchestra was soon known as "Dalibor Brazda Magic Strings."