[ Leo Addeo Orch. ]
b. Oct. 14, 1914, d. May 1979
Child of Italian immigrants who settled in Brooklyn, NY. Addeo studied violin as a child but in his teen years switched to the reeds, -saxophone and clarinet - because most dance bands were not hiring violinists. He progressed from performing into arranging and worked with such name bands as Frankie Carle; Larry Clinton, and Gene Krupa.

In the early 1950s, Addeo was working as an orchestrator for Hugo WInterhalter, and when Winterhalter joined RCA Victor Records, he brought Addeo along with him. Addeo, became one of RCAs steady producers. His specialty was Hawaiian music and he orchestrated and conducted many different Hawaiian instrumental releases. In addition, his "Marimba" group of recordings, a 'knock-off' of Julius Wechter's 'Baja Marimba Band', were hits for RCA's 'Living' series. At RCA he also backed such well known vocalists as Don Cherry and Vaughn Monroe.

Among his recordings are:
Blue Hawaii, RCA Camden CXS 9035
Far Away Places, RCA Camden CAS-901
Great Standards with a Hawaiian Touch, RCA Camden CAS-672
Hawaii in Stereo, RCA Camden CAS-510
Hawaiian Paradise, RCA Camden CAS-853
Hawaii's Greatest Hits, RCA Camden CAS-2506
Hello, Dolly!, RCA Camden CAS-980
Magic of Hawaii, RCA Camden CAS-2211
More Hawaii in Hi-Fi, RCA Camden CAS-594
with an Hawaiian version of "The Third Man Theme"
Musical Orchids from Hawaii, RCA Camden CAS-977
Paradise Regained, RCA Stereo Action LSA-2414
Songs of Hawaii, RCA Camden CAS-759
The Music Goes Round and Round, RCA Stereo Action LSA-2353

       [ Bernard Addison Orch ]
b: April 15, 1905 Annapolis, MD, USA. d: Dec/ 22, 1990 USA
Instruments: Guitar, Banjo.
"I believe the legends of Tommy Dorsey and Glenn Miller have over shadowed some of the lesser known bands. You spin a recording of "Lovely Liza Lee" by Bernard Addison and tell me that it swings less than Goodman. It is a terrific recording by a hot band!" --Les Paul 1994

Bernard Addison was born on April 15, 1905 in Annapolis MD, but soon moved to Washington DC where he grew up next door to an old banjo picker. As a Teen, he worked in various bands, and soon meet a young pianist named Claude Hopkins. The two became life long friends, and co-led a well-received combo outside New York City in 1924. While in New York, he meet Louis Armstrong and switched to the guitar in order to fill a vacancy in the Armstrong band. "I had no idea at the time that I was making such a smart move. I just wanted the steady money (laughing) but by running with Louis I got to play with all the big ones, like Jelly Roll [Morton], Fats Waller, Art Tatum and Eubie Blake." Addison went on to say that after he worked with Fletcher Henderson in the mid 1930's he formed his second band. In 1936 he accompanied the Mills Brothers for two years.

By the time Addison retired he had led ten bands, each one interrupted by a gig with a friend who asked for his help in forming a new band, such as Stuff Smith's orchestra. He worked in Canada towards the end of the band era and recorded under his own name or with the Ink Spots during the mid 1950's. He recorded with the Chocolate Dandies (see our listing for the Chocolate Dandies for more information), Sidney Bechet and Billie Holiday among others. However, he told me in 1984 that ,"Nothing in the world is more rewarding and ego boosting than seeing your name on a record label!"

At the time of his death at the age of 87 (December 22, 1990), Addison was called a jazz guitar pioneer; the first "guitar playing big band leader" to draw crowds to the Apollo Theater and the Cotton Club in New York.
Above notes courtesy of Mr. Dan DelFiorentino

       [ Charlie Agnew Orch ]
b. June 22, 1901; d. Oct. 22, 1978
Theme song: "Slow But Sure" (found 1933 air check - Armond Show)
"I can tell you the greatest thrill of my life" stated an enthusiastic Charlie Agnew in the summer of 1978 (just months before his passing), "It was leading a Big Band!"

In the early 1920's Agnew worked with "sweet bands" in and around the Chicago area. Within years of the formation of his own band in 1924, Agnew gained the reputation of one of the finest hotel bands of the era! His smooth style with a good tempo for dancing graced this countries most beautiful hotels and ballrooms, including the Peabody and the Trianon. With a strong following throughout the Midwest the band earned good air times and had a host of radio shows including "The Armandes Face Cream Program" and "The Lucky Strike Magic Carpet."

Agnew tried his hand at songwriting and penned a few noted numbers including "Too Many On My Mind","Fools in Love" and his theme song "Slow But Sure". Just before his extended run at the El Rancho in Las Vegas in the 1940's, the band signed a recording contract with RCA (and later with Columbia). Many of the sides cut during this time featured the singing talents of the beautiful Jeanne Carroll. "Every once in a while when Jeanne was singing and the boys were swinging," recalled Agnew, "I would smile at the youngsters dancing to our music. I still wonder who enjoyed the music more, those young kids or me!"
These notes contributed thru the kind courtesy of Mr. Dan DelFiorentino.

       [ Irving Aaronson & the Commanders ]
b: February 7, 1895 New York, NY, USA. d: May 10, 1963 Hollywood, CA, USA.
Theme Song: "Commanderism" [Columbia 3043-D]
Overview
Aaronson and his Commanders were synonymous with the hot spirit of the 1920s 'Jazz Age'. Irving was playing piano for the silent movies at just age 11. He started recording in 1926 with a band known as the 'Crusaders', which was changed to 'Commanders' within a couple of months. During 1928 band included Chummy MacGregor, Tony Pastor, Artie Shaw. Singers Self, Phil Saxe (also on clarinet, tenor sax, violin) and Jack Armstrong, Bob Leitner. A young Claude Thornhill and Gene Krupa also appeared in the band.

In 1928 the band appeared in Cole Porter's Broadway show "Paris" which starred Parisian actress Irene Bordoni. (b. Jan. 16, 1895, Ajaccio, Corsica, France, d. March 19, 1953, New York, NY, USA.) She recorded four songs from this show for Victor using the Commanders as her "backup" band. "Don't Look At Me That Way" and "The Land Of Going-To-Be" were released on a Victor 78; as was "Two Little Babes In The Woods. To the best of my knowledge, "Two Little Babes In The Woods", has never been released.

  "Don't Look At Me That Way", (612 kb): Irving Aaronson and His Commanders with vocal by Irène Bordoni, star of the French musical stages. (from the Musical Comedy "Paris") Cole Porter tune. Victor 21742-B (1928) (Cole Porter)

  This song was recorded by
  Irene Bordoni - 1928
  Sarah Vaughan - 1956
  Jeri Southern - 1984
  Julie Wilson - 1989
  Kiri Te Kanawa - 1993

If you would care to sing along, here's the original Cole Porter lyric as sung by Irène Bordoni:

  Oh, Im so mad about a lad
  It's too deep to express
  And when he tries to use his eyes
  They have instant success
  So full of passion, those pupils are
  That girls forget what their scruples are
  So when he turns them on me
  I murmur tenderly.....

  I just adore your loving arms
  In fact, they're two of your greatest charms
  But don't look at me that way

  Your kisses, too, are heavenly
  And oh, so full of variety
  But don't look at me that way

  When you tell me sweetly you're mine completely
  I always give a long cheer
  But those sudden flashes behind your lashes
  Are nobody's business, dear

  I feel a thrill when you arrive
  And while you're near I simply thrive
  But if you want to get home alive
  Don't look at me that way

Orchestral break

  I think you're great, I think you're grand
  And I don't mind if you hold my hand
  But don't look at me that way

  I'm very mild, I'm very meek
  My will is strong, but my won't is weak
  So don't look at me that way

  When that strange expression of indiscretion
  Begins to show in your stare
  There's a hocus-pocus about your focus
  That gives me a terrible scare

  When you propose the Altar Calls
  And I stop living in Marble Halls
  But till we get to Niagara Falls,
  Don't look at me that way.

(this chorus is also used to close at times)
  Since you began to play your role
  I've lost my heart and I've lost my soul
  But as for losing my self-control
  Don't look at me that way

Below is another Porter tune from the show 'Paris' and sung by Irène Bordoni:
( Irène Bordoni, b. Jan. 16, 1895, Ajaccio, Corsica, France (of Italian parents), d. March 19, 1953, New York, NY, USA. Irène Bordoni was noted not only for her wonderful voice, but also for her seductive brown eyes and coquettish personality. She is still best recalled as the star of the 1928 Cole Porter musical 'Paris' that featured the song "Let's Do It (Let's Fall In Love)" - Cole Porter's first big success. Bordoni subsequently sang another Cole Porter song, "Let's Misbehave", which she also recorded with Irving Aaronson and His Commanders.

  "Let's Misbehave", (455 kb): This is Irène Bordoni, singing her rendition, as recorded by Victor in 1928, backed by Aaronson's Commanders

Just how famous was Irène Bordoni. Well, in his song "You're The Top", Cole Porter included the reference "You're the eyes of Irene Bordoni".

Another Aaronson version of this Porter tune is sung here be Phil Saxe:
  "Let's Misbehave", (533 kb): Recorded (Victor) in 1928 by Irving Aaronson and His Commanders, with vocal by Phil Saxe. Words and Music by Cole Porter.

Still Another Porter tune from the show:
  "Let's Do It" (Let's Fall In Love), (586 kb): Irving Aaronson and His Commanders with another Cole Porter tune. with vocal: Phil Saxe & Jack Armstrong. Rec'd: Victor 21745 (from the Musical Comedy "Paris")

  "Crazy Words, Crazy Tune", (434 kb): Irving Aaronson and His Commanders with Vocal by a trio including Irving Aaronson himself, Phil Saxe and Bob Leitner. Rec'd: Victor 20473-A. February 4th, 1927.

  "I Never See Maggie Alone", (434 kb): Irving Aaronson and His Commanders with vocal: Phil Saxe, Rec'd: 1927

  "Evening Star (Help Me Find My Man)", (586 kb): Irving Aaronson and His Commanders with vocal chorus. Rec'd: Victor 21451-A 1928

Thanks to Mr. Leonard Schwartz for contributing the above Aaronson tracks, which have been digitally re-mastered.

After disbanding, Aaronson eventually found work as a musical supervisor for MGM motion picture studios, - a job he held until his death in 1963.
Recorded for: Edison, Victor, Brunswick, Vocalion, Columbia
Vocalists: I know of at least three female singers --Lois Still, Belle Mann, Betty Cannon
Above notes on Irving Aaronson were kindly contributed by Mr. Alan Popow and Mr. Robin Lenhart.

       [ Harry Akst Orch ]   
Harry Akst, Pianist; Composer; Band Leader
B: New York, NY, USA. Aug. 15, 1894 D: Hollywood, CA, USA. March 13, 1963
Harry Akst is also listed on our Tunesmiths Database.
In 1934 , Martha Raye debuted on the Broadway-bound revue "Calling All Stars", with Gertrude Niesen and Ella Logan. "Ella was the comedienne" recalled Raye, "I was song-and-dance. At the out-of-town opening in Boston, Ella was very sick. Harry Akst, Ella's pianist, told me to do one of Ella's skits, a drunken woman at a Hollywood party. That did it. From then on I did comedy."

Harry Akst was born on August 15, 1894 in New York. During his successful career he played key roles in the history of show business. As a teenager, he worked as Irving Berlin's musical secretary, helping the songwriting genius, who could not read or write music, to properly notate Berlin's songs.

His training from Berlin paid off when Akst began to write his own songs. At about this time, Harry became a Band Agent, supplying dance bands for Night Clubs and such. And, naturally, the bands would often plug his own songs. The band was popular, but his talents as a writer overshadowed his career as a bandleader. His first hit song was "Home Again Blues" in 1921. By the end of the decade he would also pen, "Dinah" 1925, "Baby Face" 1926, "It's a Million to One You're in Love" 1927, and "Am I Blue?" 1929.

He also wrote music for Broadway musicals (as early as 1927), and for the movies. During Would War II he toured military bases across the world with Al Jolson. He continued to write songs after the war ("Where were You Last Night?" and "All My Love") but he never again lead a band. In 1954 he had a hit with the beautiful song, "Anema E Core."

Harry Akst died on March 31, 1963 in his Hollywood California home.
The above notes supplied by Mr. Dan DelFiorentino

       [ Van Alexander Orch. ]
b. May 25, 1915, New York, NY, USA.
né: Al Feldman
Theme Song: "Alexander's Swinging"
Here's a photo of Van Alexander, who worked mostly on the West Coast as a composer and arranger for Movies and TV. He had earlier co-composed (and arranaged) "A-Tisket, A-Tasket" for Ella Fitzgerald, during his stay with the Chick Webb band.
He left the Chick Webb Orchestra in 1938 to form his own band, which used mostly ensemble scores rather than soloist type stuff.

He also wrote "Got a Pebble In My Shoe" and "I Close My Eyes." He retired from his band in 1944 to work in the movies and later on TV. He scored the music for "Baby Face Nelson," "Straight Jacket" and "Andy Hardy Comes Home." During the '50's he cut a dozen albums for Capitol Records with studio bands.
Notes kindly supplied by mr Dan DelFiorentino

       [ Barclay Allen Orch ]
b. Sept. 27, 1918; d. Dec. 7, 1966
Theme Song: "Cumana"
Overview:
In 1946, Allen replaced Murray Arnold as pianist for the Freddy Martin Orchestra, but only stayed with Martin for a few months before forming his own band. In 1949 Allen was paralyzed as a result of an auto accident after losing control of his car while driving all night between performances. (A fate of many other Big Bands musicians.)

In private correspondence, Mr. Gary R. Mahone, son of Barclay's drummer, Merle Mahone, has recalled:
      " My dad, Merle Mahone, was Barclays drummer and road manager. He and Barclay grew-up
      as best friends in Denver, Colorado. Both were child protoges. Dad got payed to demonstrate
      a trap set that George Ludwig made for him. At the time Dad was just 5 years old. I have pictures
      of dad with the trap set at home and in the store window where he demonstrated it. After Barclay
      moved to Los Angeles in the early 1940's, he convinced dad to join him there. Barclay formed a
      combo called "The Rhythm Four" which was comprised of Barclay on piano, dad on drums, Sid
      Fridkin on bass and Stan Black on guitar.

      "They became the station band at KLAC on the Bob McLaughlin show and later their own time slot.
      While at KLAC, Barclay and dad joined Freddie Martin at the Cocoanut Grove where they played for
      a short time until Barclay formed his own band with the Rhythm Four as its nucleus. The band, with
      the aid of their booking agent, Carson Harris, spent 1948 and '49 (until Barclay's accident) on the
      road playing long term engagement at places such as Elitches Park in Denver, The Chase in St..Louis
      the Palmer House in Chicago and many more

      "During that time, my mom and I, along with Barclays wife Van and two children, Ronnie and Peggy
      as well as 4 or 5 other band "brats" traveled with the band, attending public schools when in town
      long enough and being tutored by our moms (led by my dad who had teaching credentials from
      California). "

      "I have most of the Rhythm Four recordings and a few of the full bands. The early recordings were
      on the McGregor label. McGregor was later bought out by Capitol. These are on 16", 33 1/3,
      transcriptions. Barclay and his lyricist, "Rock" Hillman, formed their own label, "VanEs", named
      for Barclays wife, Van and Rocks wife, "Es"ther. Those are all on 78's."

      "While I have lost track of most of the other kids I do know that Barclays son, Ron is a professor
      at Dallas Theological Seminary and his daughter, Peggy, lives in Portland with her husband
      "Chuck" Altig. Barclay died in the early 1960s. His wife passed away last March. The only
      surviving band wife is Millie Black who lives in North Hollywood, CA."
The Big Bands Database thanks Mr. Gary Mahone for sharing his memories of his father, drummer Merle Mahone, and Barclay Allen.

       [ Bob Allen Orch ]
b. 1913, Cincinnati, OH, USA. d. April 24, 1989
Overview
With his rich baritone voice and good looks, this ballad singer was a hit in front of a microphone, and also in front of the two bands that he led briefly. He was with Hal Kemp for 5 years, and then moved around to other orchestras.

Bob studied (voice) at the Cincinnati, OH, Conservatory of Music. In 1933, he became a vocalist with the Hal Kemp orchestra, who's lead vocalist was Skinnay Ennis. Skinnay sang those songs that required an intimate feel with the lyric, while Bob took those songs that required a bit more power. The band, playing in Chicago's Black Hawk Cafe, was also heard over Radio Station WGN. When Skinnay Ennis left Kemp in 1938, Bob became the lead vocalist.

In December 1940, Allen became the leader of the orchestra when Hal Kemp died as a result of an automobile accident, but the band broke up shortly thereafter. Following this, Allen took over Vince Patti's Cleveland Ohio orchestra, and while Allen proved himself to be a capable enough leader with a warm outgoing style, this band, too, only lasted a short while. One reader, Mr. Larry Kloess, recalls

       "that while the Allen band was shortlived in number of years,
       it was not because the band didn't draw popularity, because it
       did and set an attendance record at a couple of hotels in New
       York City and at the Blue Gardens in Armonk, New York. The reason
       was that a recording ban was on and young musicians were being
       drafted into service. He had Randy Brooks in the trumpet section
       and Paula Kelly on vocals. The Blue Gardens burned down following
       Bob's appearance. At the time those of us in the area use to say
       the band was so hot it burned down the Blue Gardens. As a
       side item when he sang for Hal Kemp, he said the sidemen nicknamed
       Skinnay Ennis, "Breathless". I was on the ship heading for
       Okinawa with Bob near the closing of WWII. We had Army reinforcements
       aboard. Shortly after he left the ship and got his feet on the ground,
       he began fronting an Army band there. I saw him again after the
       war while performing with the Carmen Cavallero Orchestra at the
       Hotel Astor Roof in New York City."

In 1944, Allen joined the Tommy Dorsey orchestra as a vocalist, but this lasted only until 1945, when he entered WW2 military service with the U.S. Army. He was discharged in 1946

After his service discharge, he mostly freelanced. He finally moved to Encino California when he retired from show business, and went into the woodworking business.

During his career, Allen sang with such orchestras as Carmen Cavallaro ("I Have But One Heart"); Isham Jones ("She Picked It up In Mexico"), and "How Many Tears Must Fall"); and Hoagy Carmichael ("Somewhere In Via Roma").

       [ Johnny Aladdin's Society Band ]
b. Nov. 27, 1914, Monessen, PA, USA. d. Jan. 14, 1987, Hilton Head Island, SC, USA.
né: John B.Alagna
Johnny started playing the piano at age five. About 1930, at age 16, Johnny auditioned in Pittsburgh for the Chicago based Husk O'Hare band. He toured with them for four years as the featured pianist and arranger. He also composed many of the band's songs. He attended school on the road, returning home just long enough to finish high school. Later, he also made time to attend Chicago's American Conservatory of Music. After the O'Hare band broke up, he went to work with the Larry Funk Orchestra, out of Cleveland, OH, for three and a half years. There, he worked with music newcomers Vaughn Monroe and Helen O'Connell.

Over the years he also worked with the such Bands as The Al Trace Band, about 1946-47 (where Al gave him the "Aladdin" moniker), The Gray Gordon Orchestra, and 'The Eric Langer Orchestra', about 1948-1950. While the piano was his primary instrument, he was also accomplished at: Trumpet, Trombone and Baritone horn. He studied with concert pianist, Professor Leo Ornstein of Philadelphia and he earned a music teaching degree under Ornstein's tutelage.

During World War 2, he was a Master Sergeant attached to the 94th Army Ground Forces, then stationed at Fort Bragg, NC. There he organized (as the pianist) a six piece band that toured for three years, with Dick Powell as the movie-star singer, entertaining the troops. This little Army band, called "The Cracker Dust Six", won top honors in a nationwide contest being judged by none other than Benny Goodman.

After the war, he formed his own New York based 17 piece Big Band known as the "Johnny Aladdin's Society Band". Among the well known clubs and hotels of the East Coast area they played were the Drake Hotel, the Aquarium, The Mt. Washington, Coney Island, and Umbriago's. When the band went on tour, it often included Chicago hotels such as the Blackstone, the La Salle, and the Ambassador. The band played a 32 week return engagement at the Bismarck Hotel.

Starting in the late 1950's, with the ending of the Big Band era, he switched his focus from Big Band and Swing music to smaller trios of Piano, Upright Bass, and Drums playing dinner and dancing music (with a strong leaning toward Broadway Show tunes), at the big hotels in Nassau, Bahamas and all over South Florida.

Johnny cut two L.P. records and two 45's during his career. While mainly recalled today as a band leader, he was also a fine song composer. Later, he also wrote commercial Jingles. He was a true gentlemen in every respect, and a musician who was second-to-none.

Johnny was 73 when he died. He's buried at the Veterans National Cemetery, Beaufort, SC, USA.
These notes on Johnny Aladdin were graciously supplied by his son, Mr,John Alagna.

       [ Acquaviva's Orchestra ]
b. April 11, 1925, d. October 14, 1998
(né: Nicholas Paul Acquaviva)
Out-Theme: "Music 'til Dawn"
Overview:
Nick Aquaviva was an American composer, conductor and string instrumentalist, a student of Serge Koussevitzky and the founder of the New York "Pops" Symphony Orchestra, a 135-member ensemble that selected and performed melodic new works by young composers.

His orchestra was quite popular nationally, and was heard on radio station KSFR - San Francisco - during 1963-1964, and before that on Chicago stations, and in many other cities. He appeared in the 1953 film "Fighting Words", where the song "Tillie's Tango" (by Gladys Bruce and Jimmy Mundy) was performed by Nick Acquaviva.

Among the songs Aquaviva composed was "In The Middle Of An Island", which was co-composed with Ted Varnick, and recorded by Tony Bennett, the King Brothers, and others. Another of his tunes was "My Love, My Love," which had been written by Acquaviva and New York disk jockey Bob Haymes, the brother of vocalist Dick Haymes. As an author, he wrote "The Performer s Complete Fake Book".

An MGM Records star, his works included "The Cavalier's Ball" and "My Love, My Love", the latter recorded by his wife, Joni James, which reached Gold Record status at its release. Acquaviva was a resident of Rhode Island, USA.

       [ Charlie Ahearn Orch ]
Currently no information available.