[ Manny Albam Orch. ]
b. June 24, 1922, (shipboard, while at sea), d. Oct. 2, 2001, Croton, NY, USA.
Albam's family emigrated from Russia to America, and Manny was born on board the ship before they reached land. He grew up in New York city, and while attending Stuyvesant High School, started playing the alto. His first professional job was with the Don Joseph Quintet.

He began to concentrate on playing baritone sax, and in 1941, he played with Muggsy Spanier; in 1942 with Bob Chester; from 1942-45 with Georgie Auld; and Boyd Raeburn in '43-'45. By now, Albam was moving more and more into orchestration and arranging.

During 1945-46, WW2, Albam served in the U. S. Army. After his discharge, he resumed working with a series of bands, including Herbie Fields, Bobby Sherwood, Sam Donahue in 1947, and with Charlie Barnet during 1948-49.

In 1950, after he left Barnet's band, Albam gave up playing, and began to devote himself to freelancing as an arranger and composer. He soon became one of the busiest 'Jazz' arrangers in New York. He worked on dozens of Jazz recordings, both under his own name and for such established stars as Stan Getz, Dizzy Gillespie, Coleman Hawkins, and others. With his strong Swing-era roots, his arrangements were always subtly swinging with tight choral work for the brass and reeds. Albam's other studio work included writing works for television shows such as "Hong Kong", and for a number of movies too.

Albam continued to study with Tibor Serly in 1959-60. During the 1970s he moved to Rochester, NY when he was given a position on the faculty of the Eastman School of Music.

In private correspondence, Mr. Scott Earley has mentioned that "Manny Albam started the "BMI Jazz Composer's Workshop" and he was promoted to be its musical director in a few short years. He became a professor of composition at the Manhattan School of Music, and during the next 25-30 years, education became his primary focus. Manny headed the department of Jazz Studies at Glassboro State College in New Jersey through the 1980's (later renamed Rowan University)".

Among Albam's Recordings are:
Brass on Fire, Solid State SS-18000 (1966)
Double Exposure, Top Rank RM 313
Drum Feast, United Artists UAS-6079 (1966)
Drum Suite (with Ernie Wilkins), RCA Victor LPM-1279 (1956)
I Had the Craziest Dream, RCA Stereo Action LSA-2508 (1962)
Jazz Goes to the Movies, Impulse LP (1962)
Jazz New York, Dot 9004
More Double Exposure, RCA Stereo Action LSA-2432
The Jazz Greats of Our Time, Coral (1958)
The Soul of the City, Solid State SS-18009 (1966)
West Side Story, Decca DL 4517 (1958)
With All My Love, Mercury MG 20325

[ Don Albert Orchestra ]   
Theme: "Deep Blue Melody"
né: Albert Dominique, Trumpet.
b. March 5, 1909, New Orleans, LA, USA. d. 1986, USA.
Albert Dominique was 17 years of age and playing trumpet in New Orleans before he moved to Texas in 1926 to work with Troy Floyd. Subsequently, the Floyd Orchestra recorded a number of songs featuring Dominique on trumpet, including "Shadowland Blues" and "Dreamland Blues." In 1929 he left Troy's band to move back to New Orleans, with hopes of forming his own band. Floyd advised him to change his name to better suit his career as a bandleader.

The Don Albert band was formed in New Orleans in 1932, and traveled between Louisiana and Texas until 1939. The band only recorded eight songs, however two of the 78's sold impressively in Texas ("The Sheik of Araby" backed with "You Don't Love Me" and "Liza" backed with "Tomorrow").

The Albert orchestra was disbanded in 1939, but Don continued to work in various other orchestras throughout the 1940's, '50's and '60's. He provided an outstanding performance at the 1969 New Orleans Jazz Festival.
The above notes by Mr. Dan DelFiorentino

[ Jack Albin Orch. ]   
Here's a photograph (courtesy Mr. Peter Doyle) of Jack Albin, all of whose records were recorded in New York City. His first recording was Aug. 5, 1926 & his last (on the Crown label) was recorded in April 1931. It was a good society band that could swing when they wanted.

Bill Coty did almost all of the vocals on the later Crown releases. Other vocalist's included Jack Lord, Scrappy Lambert, Sammy Fain ('the Crooning Composer'), Paul Small, and even vocalist Annette Hanshaw recorded "Cooking Breakfast For The One I Love" (Harmony 1105-H).

He played long engagements at New York's Pennsylvania Hotel & the Edgewater Beach Hotel during 1930 & 1931.
Above notes on Jack Albin courtesy of James B Zerr

[ Henry "Red" Allen Orch ]   
Henry "Red" Allen, Jr. Trumpet.
B: Algiers, LA, USA. Jan 7, 1908D: April 17, 1967 New York, NY, USA.
Henry "Red" Allen was one of the 1920's most prolific sidemen. He performed with over 50 bands within that decade, including John Casimir, George Lewis, King Olivier, Clarence Williams (for which Allen made his recording debut in June of 1927), Walter Pichon and Luis Russell. His trumpet range and phrasing were so varied he could adjust to any tempo, rhythm or style, a quintessential sidemen. Allen tried his hand at leading bands, and by most accounts in the early days he had a gift for leading, but he was more interested in playing.

He was born across the river from New Orleans on January 7, 1908 to the leader of The New Orleans Brass Band, Henry Allen Sr., who led the band for more than 40 years. Red learned the trumpet from his father after first learning the violin and alto saxophone. He played with his father's group and developed a style that required broader training, and so began his years on the road. Red marched in the George Lewis band in 1923. He played with the John Handy Band in 1925. In 1926,, Red was playing in Fate Marable's band on the Mississippi riverboats. "Red would tour so much in those early days that most of us would only see him yearly" said Charlie Robinson who played with Allen in the Walter "Fats" Pichon band ('27) in the Pelican Cafe in New Orleans. After joining King Oliver's band in Chicago, he played still more riverboat dates with Oliver. In 1929, Red went to New York and joined the Luis Russell Orch. At that point he became fairly well known to the public, due to the records that Luis Russell's Orch. cut with Okeh.

"The funny thing about it was, all of us thought Red would never lead a band. He always wanted to be free and float from gig to gig. Then in the '30's he was sought after by all of them, Ellington, Henderson, they all wanted Red."

Allen seemed to settle down a bit in the 1930's staying with bigger outfits longer, such as his association with Luis Russell (1929-1932), Lucky Millinder (1934 when Millinder directed the Mills Blues Rhythm to 1937). His talents as a composer where getting praise that lead him to jobs with Fletcher Henderson, 1933; Duke Ellington, Billie Holiday, Benny Goodman and Louis Armstrong, 1937-40. Red started to show a desire to put some groups together and landed great success on New York's 52nd Street, at such clubs as the Famous Door; Kelly's Stable and also in the Cafe Society Club, with his sextet in 1940. The sextet toured the country for the next six years and special programs would see Allen with full orchestras during this time.

By the age of 44 Allen had a reputation as an elder statesmen of jazz. His popularity allowed him to tour less and fill the larger ballrooms and hotels. His band was featured at the Metropole from 1954 to 1965, taking time off to tour Europe with Kid Ory in 1959. During the last decade of his life Allen found enormous success in clubs and jazz festivals mostly on the East Coast. His countless television appearances enhanced his image as grand old gentleman of jazz.

His finally tour was more heroic than most of his fans realized as Allen was seriously ill in the Spring of 1966 and had undergone an operation just months before his tour of Britain in March 1967. After returning to New York Henry Allen had died of cancer on April 17, 1967.

Two of Allen's landmark recordings have been released on CD's. "World On A String" recorded in 1957 on Bluebird Records and "Red Allen Plays King Oliver" recorded in 1960 now on Verve Records.
Notes kindly supplied by mr Dan DelFiorentino

[ Jap Allen's Orch ]   
This midwest band appears to have been formed in the early 1930's. Among the personnel were: Ben Webster, sax (out of Moten's band);Clyde Hart on Piano, who appeared on a Dizzy Gilespie date in 1945; Joe Keys was on trumpet. He also came out the Moten band, and later appeared on Count Basie recordings. All in all, it seems to have been a little known group with some very interesting sidemen.
Notes kindly supplied by mr Dan DelFiorentino.

[ Steve Allen ]    
b. December 26, 1921, New York, NY, d. Oct. 30, 2000, Hollywood, CA, USA.
Multi-talented pianist, songwriter, TV personality, author, vocalist and comedian, Steve Allen is the son of vaudeville performers. His show business career began on a Phoenix radio station, which lead to a long career in TV, including the Tonight Show, The Steve Allen Show and as the host of I've Got A Secret. His musical career was equally impressive as his piano playing in small clubs lead to songwriting. His most popular tunes include, "This Could Be The Start Of Something Big," and the theme of TV and movies such as, "Picnic," "Houseboat," and "The Bell, Book and Candle."

Steve Allen's rapport with jazz led him to the title role in the 1956 movie, The Benny Goodman Story. (Sol Yaged taught Allen clarinet to help make his role more realistic.) Allen had his own TV show which hosted many bands, including; Bobby Byrne, Skitch Henderson and Les Brown. During most of the 1950's, Allen also lead various bands, mostly for studio recordings. After working in the Donn Trenner All-Star combo, he returned to recording with small groups and occasionally a larger orchestra.

He recorded over 20 albums of piano-based mood albums during the 1950's and '60's. A number of these albums sold extremely well, including "Music For Tonight," "Jazz For Tonight," "Let's Dance" (outstanding arrangements of songs first popularized by Benny Goodman) and "Music for Swingers."

Allen and his wife, Jayne Meadows, continue to appear on many TV programs as guest stars. As of 1995, Allen had published over 700 songs, authored ten books, and continued to sell his mood music, now available on CD.
Above notes by Mr. Dan DelFiorentino

[ Danny Alvin Orch ]   
Danny Alvin: B: Nov 29, 1902, New York D: Dec 5, 1958, Chicago, IL, USA.
"Chick Webb loved his style! Webb thought [Danny] Alvin could beat the hell out of those drums, ...he still can."--Ben Pollack 1941

As a teen Danny Alvin played drums for Sophie Tucker in New York City. He recorded with the singer Aunt Jemima before moving to Chicago in 1921. During the 1920's he worked in small bands around Chicago, traveling only once to Florida with Arnold Johnson in 1926.

He quiety established himself as a stylish drummer, gaining the respect of fellow drummers. He played with Wayne King, but left the band to concentrate on Dixieland jazz. He formed his own group in 1934 but found Dixieland was better suited for small combos. The larger orchestra was very smooth and boasted a great list of ballroom appearances.

His combo remained dedicated to the traditional style of Dixieland. He formed long lasting relationships with Art Hodes, Wingy Manone and Mezz Mezzrow. The four musicians often worked under each others names, recording mostly with Manone or Hodes name on the label. These combo recordings were the focus of a 1978 releases on Columbia called "Dixieland Combo's: Pioneering Leaders." In 1943 he performed a most impressive drum solo on the Wingy Manone recording of "Jazz Me Blues."

Alvin worked with The George Zack Band in 1948 on the East coast. He left the band to form a new Dixieland combo in Chicago. He remained a popular attraction in supper clubs throughout the 1940's and early '50's. In later years he owned his own club in Chicago booking mostly... you guess it, Dixieland style combos.
Above notes kindly supplied by Mr. Dan DelFiorentino

[ Ambrose and his Orch ]   
1897, London, England, UK., d. June 18, 1971, Leeds, UK
'Click' here for more information on our British Bands Database on Ambrose, who was a very well known orchestra both in England and the U.S.A. during the 1930's - '40s

Bert Ambrose was born in London, England in 1897. After World War I, He moved to New York to study and to play the violin in symphony orchestras. He moved back to London in December of 1921. He then used his experience to organize a dance band.Ambrose once told a reporter that six was his lucky number as both of his engagements at `Luigi's Embassy Club' and the `New Mayfair Hotel' were each six years. These two high profile gigs helped establish the band as England's most popular dance orchestra.

Roger Kinkle once wrote that the Ambrose band, "had rich, full ensemble sound with a solid beat. Arrangements featured top British jazzmen." By the 1930's, the band "could swing nightly" and gained world fame with regular radio broadcasts.

Thanks to a recording contract with Decca, the Ambrose sound has been available to audiences all over the world. Both the Decca contract and the success of the bands members supported the continual release of Ambrose material. (Members included Lew Stone, Ted Heath, Bert Barnes, Stanley Black, Kenny Baker, George Shearing and the vocalist, lovely Vera Lynn.)

Although he was most popular in the 1940's Ambrose toured England during the '50's. He continued organizing bands of all sizes and played night clubs and hotels well into the 1950's. He managed other talent acts before retiring from the business. Bert Ambrose died in 1973.
The above notes courtesy of Mr. Dan DelFiorentino.

[ Albert Ammons & his Port of Harlem Jazzmen ]   
See 'Albert Ammons' Rhythm Kings', below.

[ Albert Ammons' Rhythm Kings ]   
b: 1907, Chicago. IL, USA. d: Dec. 5, 1949 , Chicago, IL, USA.
Albert Ammons was born in Chicago in 1907 and played as a piano soloist or with small jazz group in the 1920's. He worked with Louis Bank's band as the pianist during most of the 1930's.

He moved to New York in 1938 to form his own group that became important in the surge of boogie woogie. His band often teamed with Meade Lux Lewis (1905-64) and Pete Johnson (1904-67). Years later Johnson and Ammons formed a combo that played in small clubs for 5 years. The combo had a long run at the Cafe Society Downtown in New York.

"Nagasaki" was recorded under the Albert Ammons name, in 1932, and was followed by other classic songs, including "Boogie Woogie Stomp," "Jammin' the Boogie," "Boogie Woogie Blues," and "Suitcase Blues."He also recorded with Pete Johnson ("Cuttin' the Boogie"); Sippie Wallace; The Port of Harlem Jazz Men; a piano trio, Meade Lux Lewis -Pete Johnson - Albert Ammons, and the Harry James Orch. ("Woo-Woo")

In later years illness prevented his travel and his son Gene often took over when his father was too sick to meet his appointments.

Albert Ammons died on December 5, 1949 in Chicago. His son, Gene (born 1925) was nicknamed "Jug" and was noted for his big toned, hard-swing tenor saxophone style that became the foundation for the early bop era.
Above notes supplied by Mr Dan DelFiorentino

[ Gene Ammons Orchestra ]   
b. April 14 1925, Chicago, IL, USA; d. July 23, 1974, Chicago, IL, USA.
Tenor saxophonist.
Here's a photo of Gene Ammons, who was the son of one of the major progenitors of boogie-boogie, pianist Albert Ammons.

It was Coleman Hawkin's version of 'Body and Soul,'that established the tradition of the tenor sax ballad, and that tradition was carried forward by men such as Gene Ammons and Ben Webster. These men didn't try to inject their virtuosity into the ballads they played. Their playing was simply straight "story-telling". Isn't that the "body and soul' of a ballad?

From 1944-'47, Ammons, known as "Jug" to his friends, performed with the Billy Eckstine band. During 1949, he worked with the Woody Herman band, and in 1952, co-led a 2-tenor septet with Sonny Stitt. From 1958-'60 and again from 1964-'69, he was imprisoned for drug offenses. During his career, Gene made a number of solo appearances, as well as recording with some "all-star" line-ups, and appeared at the 1973 Montreux festival.

[ Leroy Anderson Orch. ]   
b. June 19, 1908, d. May 18, 1975
Overview
This son of Swedish Immigrants had studied music as a child. He was undecided on a career in music or teaching, but when attending Harvard University, his arrangements for the School band were duly noted by Arthur Fiedler then leading the Boston Pops Orchestra, and this swayed Leroy to choose music. The Boston Pops, under the baton of Arthur Fielder often played his compositions, and Leroy often acted as guest conductor playing his own works at many pops concerts. In the 1940's, when Anderson's work became popular with radio listeners he formed his own recording orchestra. During this time period, when 'light music' was extremely popular, Anderson composed a great many instrumental tunes, many of which became big hits.
Among Anderson's compositions are:
"Blue Tango" (1951)
"Fiddle Faddle" (1-1-47)
"Horse and Buggy" (6-11-51)
"Plink, Plank, Plunk!" (6-12-51)
"Sleigh Ride" (2/10/48)
"The Penny-Whistle Song" (6-3-51)

"The Typewriter" (10-9-50)

[ Don Anthony Orch ]   
Presently no information.

[ Ray Anthony Orchestra ]   
Theme Song: "The Man with The Horn"
né: Raymond Antonini, Trumpet
b. Jan. 20, 1922, Bentleyville, PA, USA.
Ray was taught music by his father and began his musical career at the tender age of five playing in the "Antonini Family Orchestra." While still in High School, Ray was playing with local Cleveland, OH, bands. His real start was with Al Donahue's 'Low Down Rhythm In a Top Hat' band, and from there to Glenn Miller's band, and then to Jimmy Dorsey. (Supposedly, Anthony and Miller were oil and water.) For Four years, Ray led a U.S. Navy service orchestra in the South Pacific area during WWII.

In 1946, Ray formed his own band and signed with Capitol Records, then owned by Johnny Mercer and Buddy De Sylva. The band toured extensively and was one of the top bands of the 1950's. A good idea of their popularity is to understand that many others were disbanding due to lack of demand.

Among the band's biggest hits in the 1950's were three Million-seller hits; "Dragnet" and "Peter Gunn" and "The Bunny Hop". Among his other hit records were "At Last" "Harbor Lights", and a good selling album entitled "Dream Dancing".

Two of the films in which Ray's band appeared were, 'This Could Be The Night' and 'Daddy Long Legs' starring Fred Astaire. Ray also appeared in the film 'The Five Pennies' the biography of Red Nichols. He played the sax impersonating Jimmy Dorsey.

The big band era had begun to close down in the late 1940's, so that by the 1960's the market was very 'tight' for big 16 piece swinging orchestras. Ray started playing club dates and lounges, touring the U.S. with a sextet and female vocal duo called 'The BookEnds'. The two original Bookends were Anita Ray and Diane Hall, but, in time, they were replaced by others including Vikki Carr.

As the sextet toured the local clubs, the 'two girls' grew to four; then a sideman was added until finally Ray had a 10 piece aggregation with 6 girl singers. They played such venues as clubs in Las Vegas, Lake Tajoe, Reno, the Royal Hawaiian in Honolulu, and the Princess Hotel in Acapulco, Mexico.

Today (1997), Ray provides big band music to colleges and to radio stations, and still accepts Civic and Corporate gigs for the band. (See 'Working Bands' link for the Ray Anthony Orchestra, Contact addresses.) A wonderful musician still bringing happiness to a great many folks.

[ Lew Anderson Orch. ]   
b: May 8, 1922, Kirkman, IA, USA
Prior to forming his present New York based band, Lew attended Drake University and after graduation played literally hundreds of one-nighters with territorial bands in the Midwest, did a national tour with the Latin band of Carlos Molina, and appeared in Chicago with the legendary "Ace" Brigode Orch.

During World War II, having missed an opportunity to join the Stan Kenton band on lead alto, he enlisted in the U.S. Navy where he organized, arranged for, and conducted a big band attached to the submarine service in the Pacific. After the war, Lew joined "The Honeydreamers" vocal group, writing their arrangements and singing with them on Dave Garroway's "Garroway At Large" TV show, The Steve Allen Show, The Ed Sullivan Show, and Kay Kyser's Radio and TV shows. He has contributed his talents to numerous radio and TV commercials for such sponsors as Buick, Colgate, Pepsi-Cola and others. He was the arranger and conductor for the advertising industry CLIO awards. From 1954 until 1960, Lew was featured as Clarabell the Clown on NBC's historic "Howdy Doody" TV show. After this stint, Lew returned to music full-time and put together his New York band.

At the suggestion of WNEW's Al "Jazzbeaux" Collins, Lew and the band began an eight year run at New York's Red Blazer Night Club. During this stand, the band appeared on Don Kennedy's syndicated radio show over his 130 station network, "Big Band Jump"...recorded at the Blazer. This broadcast has since been released as a CD "Live At The Blazer". Other CD's include a tribute to Frank Sinatra with the vocal talents of THE FOUR FRESHMEN...."Voices In Standards".