In l938-39 the boy vocalist was Jimmy DiPalma, later known as Jimmy Palmer. The girl vocalist was Gloria Gale, later known as Miriam Shaw when she sang with the Les Brown band. In the early 40's the male vocalist was Paul Carley and the female vocalist was Lucille Doran, along with a vocal group called The 3 C's. The band's arrangers were Fred Roberts and Fred Mollins.

The combined personnel included:
       Fred Roberts, guitar
       Herman Paul, Roy Shaefer and Ernie Geiger, trumpets
       Bill Kroll, alto sax
       Tay Olson, clarinet and alto sax; John Hayers, tenor sax
       Mal Little, tenor sax
       Anton Russe, piano; Ange Liotta, bass; Ernie Wolff, drums
       Bill Stumpf, Woody Fay, Eddie Rhodes, trumpets
       Jack Parker, alto sax; Vince ??, Jazz tenor sax
       Bill Page, piano;
       Harvey Poulin, Ken Fye, bass; Roland Hodge, bass & trumpet
       Arnold Lehman, drums; Joe Anderus, alto sax; Huck Rounds, trumpet
       Paul Von Tayre, trumpet
       Don Girard, piano.

Reggie Childs recorded on Decca and Varsity. The band spent much time at 'The Rustic Cabin' in New Jersey.
These notes on Reggie Childs were kindly supplied by Mr Charles Steiger and are based on his personal conversation with Sterling (Tay) Olsen, who played with the band from 6/1938 to 12/1938 and again from 6/'39 to 12/'40. 'Tay' is widely regarded as a "musician's musician".

        [ Chocolate Dandies Orch. ]
Active late '20 to '30s. It was a sort of "rag tag" outfit at first. But, in the 30's, leaders such as Don Redman and Benny Carter drilled them to a professional standard. And having, Teddy Wilson and Chu Berry in the band didn't hurt either.

Also known as "The Little Chocolate Dandies".
The Chocolate Dandies were simply a smaller version of the McKinney Cotton Pickers band. While in the studio for the first time in July 1928, the McKinney's Coton Pickers recorded 25 songs. When a few members took a break, nine other songs were recorded. It was later decided that those nine songs would be relased under the name of Chocolate Dandies, named after the 1924 Broadway show co-written by Eubie Blake and Noble Sissle.

In October 1928 the same small group recorded four more songs. It was clear that the leader of the band was Don Redman, however he chose to have his name left off the record labels. Of corse Redman would later lead a series of his own bands with great success (see our listing for Don Redman). The first recordings of the Chocolate Dandies included: Rex Stewart, J. C. Higginbotham, Don Redman, Benny Carter, Coleman Hawkins and Fats Waller.

Two of the recordings from October 1928, "Birmingham Breakdown" and "Stardust", laid the foundation for the bands sound and further success. These recordings were recognized for there original musical design and progressive style.

Throughout the next decade the band recorded with some innovative ideas: sometimes without the use of any drums; sometimes with dual sax and trumpet solos etc. The Chocolate Dandies's 1940 recording of "Smack" showcased Carter on both the alto sax and trumpet. None of these feats were noteworthy to the musicians at the time, however today it is clear the ideas were ahead of their time.

Robert Goffin, the author of the 1943 book, Jazz: From the Congo to the Metropolitan, wrote the following about the Chocolate Dandies' recording of "Got Another Sweetie Now", one of the author's favorite recordings, "A bit of musical perfection! The tune is melodic but not trite and is fresh and sprightly, it is played with warmth and precision and the ending has a charming simplicity which brings tears to the eyes. The saxophone solo does not show off any amazing techniques, but it is one of the most moving things imaginable . Jimmie Harrison's trombone, and vocal, demonstrates what a great loss his death was for jazz music. This is one record surely destined for immortality."

Recently Disques Swing Records released the CD "Chocolate Dandies 1928-1933" allowing new generations to hear the talents of this historic jazz band.
Above notes courtesy of Mr. Dan DelFiorentino

        [ Sunny Clapp And His Band O' Sunshine ]
Sunny's band was known as "Sunny Clapp And His Band O' Sunshine". He began recording for the Okeh label June 11, 1929 in San Antonio, Texas, and he made his last recordings in New York July 1, 1931.

In 1927 he wrote the words & music for the song "Girl Of My Dreams" -- in addition to his talents as a bandleader, composer and arranger, he also played trombone, clarinet, and alto sax.

He and his band recorded 20 sides from 1929 thru 1931.

Band personnel 1931
       trumpet: Bob Hutchingson, Tom Howell
       trombone: Sunny Clapp, Lee Howell
       saxes: Sidney Arodin, Mac McCracken
       piano: George Marks
       guitar: Roy Smeck
       brass bass: Francis Palmer
       drums: Joe Hudson
       vocals: Lew Bray, Bob Hutchingson, Tom Howell, Jeanne Geddes, Arthur Keller,
          George Marks, (and on Victor 22776, Hoagy Carmichael)

Above notes on Sonny Clapp courtesy of James B. Zerr.

        [ Gay Claridge Orch ]
Themes:
"This Is Love" (Transcription)
"When Summer Is Gone" (A/C-Chicago)
Gay's band was very popular in the Chicago area during the 30's He made a few Transcriptions for radio broadcast, however no commercial recordings for his band are listed.

He was often used as the support band for Chicago stage shows. His versatility included vocals, trumpet and saxaphone.
Above notes on Gay Claridge courtesy of Mr. James Zerr

        [ Buddy Clark Orch. ]
As a child, Buddy had studied piano and trombone, and by the time he reached High School, he was also playing the trombone. In the late 1940s, he studied at the Chicago Musical College. In the 1950s, he worked with Bill Russo and Bud Freeman and also toured with both Tex Beneke (Glenn Miller Band) and Les Brown's band. In the 1960s, he had settled in Los Angeles working both in the studios and also playing with some Jazz bands including Gerry Mulligan's. During this time he also worked with such stars as Peggy Lee; Jimmy Giuffre; Red Norvo and Dave Pell. In the early '70s, as part of the original "Supersax Band", he worked directly with Med Flory transcribing Charlie Parker solos in the for the Sax section. Clark continued to play and tour with Supersax until 1975. He then resumed his studio career.

        [ Bill Clifford Orch. ]
Theme: "My Bill"
"Most people don't know that the Big Band Era was not over in Las Vegas as it was every place else in the 1950's. For some odd reason, the bands continued in Vegas as if nothing else happened. In fact, if you look into it, most every band that continued to perform into the '50's and beyond, played in Las Vegas. Two of the 'hot spots' in Vegas for bands, were the El Rancho and the Flamingo. A fellow out of LA, Bill Clifford, had a wonderful band back in the '40's, and he played non-stop. Bands like his found a great resting spot in Vegas. Big band fans owe a lot to places like the Flamingo because they gave old bands a graceful place to play as the era was ending." --Dick Jurgens 1985

Bill Clifford was a handsome leader, raised in Hollywood, with a real desire to hit the big time. He was trained on the road, playing violin for Anson Weeks and Griff Williams. On a trip to San Francisco in 1941, Clifford was given the backing to launch his first band. He performed as a vocalist for the band (later he was a noted singer with Gary Nottingham's Big Band). The band was known for long engagements even as the band era was nearing the end.

In later years he served as general manager to KUPD radio in Phoenix, Arizona and as Jim Bailey's musical director.
Above notes courtesy of Mr. Dan DelFiorentino

        [ Larry Clinton Orch. ]
Tag: The Old Dipsy Doodler
b. Aug. 17, 1909, New York (Brooklyn), NY, USA ; d. May 2, 1985, Tucson, AZ, USA.
InTheme: "The Dipsy Doodle"
OutTheme: "Study In Brown"
Overview
Larry Clinton, played trumpet, trombone and clarinet, arranged and wrote music.
He was responsible for some of the more enduring hits in the dance band repertoire. He had a great, though short-lived, band 1937 - 1941. But, in that short time, the band turned out 214 sides for the RCA Victor and Bluebird Labels. Clinton was a great composer and arranger whose songs include: "The Dipsy-Doodle"; "Satan Takes A Holiday"; "Study In Brown"; and "Midnight In a Madhouse". Among his greatest hits was "Heart and Soul", and "My Reverie" which he 'borrowed' from Claude Debussy's "Reverie".

For fully six years before he formed his own band in 1937, Larry Clinton had been one of the top arrangers in the business, Among the bands for whom he had written were the Dorsey Brothers, then Jimmy Dorsey, the Casa Loma Band, also as a free lancer, and finally for Tommy Dorsey. He composed "Dipsey Doodle" for the Tommy Dorsey band and it became one of the major hits of that decade. Whenever Tommy played the number, he would credit Larry Clinton as the composer. Because of all the Dorsey "plugs", Larry became so well known that he was, in 1937, able to start his own band. It is interesting to note that although he chose the "Dipsey Doodle" as his InTheme, he was unable to record it because, like Tommy Dorsey, he too recorded for RCA Victor, and Dorsey had already recorded the tune. Clinton's 'OutTheme' was "Study In Brown", which he had originally composed for Glen Gray and The Casa Loma Band. And, he was unable to record that because Bunny Berigan had recorded the tune (also for RCA Victor before Larry had formed his band). Another Clinton original, "Satan Takes a Holiday", was a tune originally written for Tommy Dorsey who, of course, recorded it before Clinton formed his own band. Many critics felt that Clinton's instrumental recording of "In a Persian Market" was at least as good as TD's "Song of India".

Among the players who were part of the band were Bob Cusamano (trumpet), Tony Zimmer (clarinet/saxophone), Sam Mineo (piano), and Henry Adler (drums),. and a trombonist Ford Leary, who also sang novelty songs. Hugo Winterhalter joined in the fall of '38, and played tenor sax, and much later became a bandleader and an arranger.

Interestingly, in 1938, Bea Wain briefly suffered with a "strep throat", and was unable to sing with the band. During that time, Bea's good friend, a young Carole Bruce replaced her.for a couple of weeks. Still, the band had to go on the road, and Bea Wain's name was on the contract.. If Bea wasn't with the band, the band wasn't paid. So.... Carol went, and signed Bea Wain's name on autographs. Carol Bruce later became a Broadway musical star in her own right.

Larry enjoyed adapting melodies from the 'Classics' to create popular songs. As someone said, "It goes in one ear and comes out his pen". His big hit "My Reverie" was from Debussy, while "Our Love" was a theme from Tchaikovsky. There is an interesting quote from Clinton. His adaptation of 'Classic' themes caused him to be denounced in some quarters for "desecrating" the great works. His answer was direct and simple. "If your kids want to dance," he said, "would you rather have them dance to a Tchaikovsky melody or to "Flat Foot Floogie?" Larry had a wonderful vocalist in Bea Wain , (née: Beatrice Wain), who was voted "Most Popular Vocalist of 1939". Here's another view of Bea on one of her album covers. (She later married Radio Announcer Andre Baruch. Andre served in the U.S. Armed Forces during WWII, and was honorably discharged with the rank of Major. After his discharge, he and wife Bea Wain had a radio program on New York's station WMCA, where they were billed as "Mr and Mrs. Music".) Among Bea's biggest 'hits' with the Clinton band were:
       "Deep Purple". (705 kb). (Mitchell Parrish lyric)
       "Heart and Soul" (Hoagy Carmichael and Frank Loesser)
       "My Reverie" (Debussy Melody)
       "The Masquerade is Over"
       "True Confession"
       "Satan Takes A Holiday"
       "Martha" (Flotow melody)
       "I Dreamt I Dwelt in Marble Halls"
       "The Dipsy Doodle" (named for pitcher Carl Hubbell's Dipsy Doodle "Pitch. (N.Y.Giants
              Baseball team.)
       "You Go to My Head"
       "Whistle While You Work"

In 1939, following an engagement at the Meadowbrook in Cedar Grove, NJ, Wain left left Clinton to pursue a solo career. She had only been with the band for a year and a half. Today, most folks think that she was with the band for a much longer time because of all her hit releases. But, the truth is that all those hits were released in just that small year and a half period.

Bea was replaced by Mary Dugan, who was followed by Helen Southern and Peggy Mann. Other vocalists included Terry Allen, Ford Leary, and Carol Bruce. Future leader Hugo Winterhalter  played sax. and another future leader, Les Brown , wrote some of the group's early arrangements. Van Alexander  wrote some of the later.

In 1941, Clinton disbanded. But in 1942, he was filmed for a 'Panoram Soundie'. Let's watch that Soundie now.
  "Smiles"   a World War 1 song played here in this 1942 "Soundie".

In 1942, Larry, who was an excellent aviator, was given a Lieutenantcy in the U.S.Airforce. He gained his Captaincy in Calcutta, India, where one of his Aides was famed singer Sgt. Tony Martin. An excellent Pilot, Clinton wound up at the 1343rd ATC base unit in China as Pilot and Base Training Officer.

With the end of World War II, Clinton was given his Service discharge in 1946, and then worked as musical director at the small Cosmo label, recording several sides during his stay. In 1948, he briefly toured, remaining active with a group until 1950. The next decade found him working sporadically in semi-retirement, and he officially retired in 1961.

While still a bandleader, Larry had saved his money and when he decided to stop playing, he and his wife Wanda retired to Florida and then to Green Valley, AZ, where he took to writing Science Fiction Stories.

        [ Jolly Coburn Orch. ]
Theme Song: "There's Music In The Stars" (Victor 24765)
Overview
Coburn's real name was Frank J. Coburn. He played trumpet and put together a good society band that did little of any traveling outside the greater New York City area.

From 1934 through 1937, he recorded only for Victor and their subsidiary label, Bluebird. He recorded only 20 sides during this period and all but one (Organ Grinder's Swing -Victor 25396) were vocals.

Vocalist's with the band included: Roy Strom, Harold Richards (né: Harold Richard van Emburgh), Harold Kolb, Bill Hawley, Joan Brooks and Marilyn Duke who later joined Vaughn Monroe's band.

Band Personnel
       Trumpets: Jolly Coburn, Roy Johnson
       Trombone: Art Foster
       Saxes: Larry Tice, Harold Kolb, Buddy Saffer, Cecil Armitage
       Violin: Max Tanfield
       Piano: Bert Stevens
       Guitar: Benny Mortell
       Bass: Nick Fisher
       Drums: King Johnson

Above notes on Jolly Coburn are courtesy of James B Zerr, and Ms. Barb Emert, grandniece of Harold Richards.

        [ Chubb-Steinberg Orch. ]
Currently no information available.
Here's a photo of the band 1925 Chubb-Steinberg Orch.. In private correspondence, Mr. Lawrence Pranger, whose grandfather was Frank Bamberger, has recalled "The guy in the photo marked "unknown" is Homer Becraft (booking agent)- not a welll liked guy." Incideentally, the photo's caption reads "Wild Bill Davidson", but his real name was "Davison", - no "d". ("Wild Bill Davison was b. Jan 5, 1906 in Defiance, OH, USA, and d. Nov 14, 1989 in Santa Barbara, CA, USA. He was one of America's great Jazzmen.)

Most of the members of the Chubb-Steinberg Band were local Cincinnati musicians and would remain there for their entire lives. Chubb and Steinberg was a record and record player store in downtown Cincinnati which sponsored the band for advertising purposes. The 'Chubb' was dropped from the store name in 1930 when Mr. Chubb left the partnership to sell public address systems. Members of the band at various times: Bert Allen-Cornet, Frank Bamberger-Trombone, Homer Beercraft /Alto Saxophone/ Vocals, Carl Chauve-Banjo, 'Wild Bill' Davison-Cornet, Bud Ebel-Drums, Ray Fetzer-Brass Bass, Art Hicks-Violin/Vocals/Director, Otis Neirouter (Ray Evans)-Alto Saxophone, Jack Saatkamp-Piano, Jack Weber-Clarinet/Tenor Saxophone.

Now listen to them playing "Stepping In Society", recorded 1925. (Digitally re-engineered by Mr. Verne Buland.)

        [ Robert Cloud and His Orch. ]
Piano, Saxophone, Arranger
Active in the late 1920s and the early 1930s, but largely forgotten today, this obscure Black composer, arranger, and musician was often credited with leading his own group, and at other times as a sideman in groups with such diverse names as the Georgia Jumpers, The QRS Boys, The Grand Central Red Cap Quartet, and the Ross De Luxe Syncopaters.

On August 22, 1927, the Victor label recorded the Ross DeLuxe Syncopators in Savannah, Georgia, playing the following tunes, -all with Robert Cloud credited as composer/arranger- "Don't You Wanna Know?", "Skad-O-Lee" (later aka: "Stack-O-Lee"), "Monia" (aka: "You Gotta Know How To Love", co-composer: Melville Herbert), "Baby Stop Teasin' Me", "Lady Mine", and "Florida Rhythm". Two other tunes were recorded on the same date. "Believe Me, Dear" (aka: "The World Is Waiting For The Sunrise", which was credited to C. Mason, and someone named 'Claud' (the French pronounciation of which is "Cloud"). The other song was "Mary Bell", a tune credited to Casker Towle, another of the band members.
The line-up for that date included:
Alonzo Ross -piano, and Leader.
Melvin Herbert and Robert "Cookie" Mason on trumpets
Eddie Cooper -trombone
Robert Cloud, Edmond Hall, and Earl Evans on the reeds (Cloud also arranged)
Casker Towie on banjo
Richard Fulbright on tuba
Frank A. Houston played drums and vocals
Margaret Miller was the vocalist

In February, 1929, the 'QRS Boys' were recorded in New York City (Long Island City area), with Robert Cloud on tenor sax, Walter "Fats" Pichon, piano/violin, Benny Nawahi, on steel guitar, and unknown playing violin -sp.

On August 22, and again on August 29, 1929, the Robert Cloud Orchestra was recorded in New York.

On April 7, 1931, The Georgia Jumpers recorded, this time with either Benny Nawahi or Robert Cloud as the leader.

On August 14, 1931, The Grand Central Red Cap Quartet recorded, but this time Robert Cloud played Piano, not the Sax. (Rollin Smith did the vocals.)

Benny Nawahi, who recorded with the 'QRS Boys' (above) deserves a special note. This native Hawaiian was a virtuoso of the steel guitar and the ukulele. He is perhaps best recalled for his own recording of native Hawaiian music. Nevertheless, the way he (and other Hawaiian steel guitarists of the time) mixed their music with 'Swing' ideas, typified the way Hawaiian musicians were then taking advantage of the U. S. mainland's fad with Island music. He was also heard as accompanist on some wildly swinging U. S. mainland 'Jazz', as well as 'Country' recordings of the late 1920s - early '30s.

Other wonderful steel guitarists of that time included the now nearly forgotten Eddie Bush and Jimmie Yates. Sylvester Weaver recorded "Steel Guitar Rag". There was also Casey Bill Weldon, Oscar Woods, Jimmie Tarlton (who recorded a country blues version of "My Blue Heaven"), and Tau Moe (who recorded with his band in Singapore). Even the great Roy Smeck played his laptop guitar with King Oliver's Orchestra.

        [ Clebanoff Strings. ]
b. May 2, 1917, Chicago, Illinois, USA, d Jan. 13, 2004, Sherman Oaks, California, USA.
violinist, leader
Herman Clebanoff, a Chicago native and son of Russian immigrants, began to study the violin at just age 5. As a teenager, he was the concertmaster in his High School orchestra (and first chair violinist in several string quartets). By age 20, he was both concertmaster of the Chicago Civic Orchestra and youngest member of the Chicago Symphony. Various positions as concertmaster followed; with the Illinois Symphony, the New Orleans Symphony, where he was also assistant conductor, and the NBC orchestra of Chicago. His "Clebanoff's Strings Orchestra" was the Mercury label's answer to Mantovani and such other string orchestras of the 1960s era.