In 1938, Hackett both fronted his own band and was also featured at Benny Goodman's legendary Carnegie Hall concert. A year later, he tried his luck with a short-lived big band, premiering at the "Famous Door", another well known club on 52nd Street. He then joined the Horace Heidt dance orchestra, staying until June 1940. Between July 1941 and September 1942, Hackett played in the Glenn Miller orchestra. He joined Glen Gray in 1944 remaining there for almost two-years. Over the next ten years, Hackett concentrated on studio work while still making occasional club appearances with his own groups.

In the mid-1950's, Hackett once again became more active working outside the studios, where among other work, he toured with the Benny Goodman and Ray McKinley Orchestras. During this same time period, he often backed many different singers on their recordings. During his later years Bobby was always a welcome guest at various jazz festivals and concerts. He remained active until a short time before his death.

      [ "Gus" Haenschen Orch - aka: Carl Fenton Orch. ]
b. Nov. 3, 1889. St. Louis, Missouri, USA. d. March 26, 1980, Norwalk, Connecticut, USA.
né: Walter Gustave Haenschen, Pianist/composer/arranger/producer.
Overview
Walter is the same person known as "Gus" Haenschen, -- who recorded profusely for the Brunswick Label, - sometimes under the name of Walter G. Haenschen, sometimes as Gus Haenschen, and often under the name of the "Carl Fenton's Orchestra", as well as many other names.' In the early 1920s, Walter Haenschen was the principal Brunswick Recording Company musical director and arranger. He was to Brunswick what Nat Shilkret was to Victor. In 1927, Haenschen left Brunswick, and then became instrumental in the then new art of radio transcriptions, as well as conducting orchestras on popular radio shows.

In time, Walter G. Haenschen came to be called "Gus" Haenschen, and he also often recorded for the Brunswick Label under the name of 'Carl Fenton Orchestra'. (There never was any person named Carl Fenton. Gus only used the 'Carl Fenton' name during the 1920 to 1927 period, when he was with Brunswick Records.) His own name -Haenschen ("Little Chicken" in German) was 1. not an easy name to put on mass consumption phonograph records, and 2. Germanic names were still not very popular in the period following World War 1.

The Haenschen family emigrated from Germany and had become resident in St.Lous, MO, where Walter was born. When Walter was just 13, his father abandoned his wife and two children (there was also sister named Alice), and Walter soon had to help provide for the family by working in the local silent film theaters providing piano accompaniment. Somehow, he came to the attention of Augustus Busch (owner of the Budweiser brewery -many St. Louis citizens were of German descent) who helped Haenschen to find work at country club dances, weddings, and similar social events. Later his band played between innings at St. Louis Cardinals baseball games.

In 1912, Haenschen graduated from Washington University in St. Louis (with a degree in Engineering) where he had led the school's popular band at many dances about the city. At that time, 'Dance' was transitioning from the older Waltz and Two-Step Rags to the newer 'Fish Walks', 'Glides', and various 'Trots'. Haenschen also learned how to play the 'Rags' after meeting Scott Joplin in one of the St. Louis "dives" where Black musicians played. (Joplin moved to New York City in 1907.) By this time, Haenschen was quite active in the world of music. For example, in 1912, the Victor Military Band (Victor 17592) recorded a Haenschen composition, "The Maurice Glide", named after dancer Maurice Mouvet. It is known that ca. 1916, 'W. G. Haenschen's Banjo Orchestra' recorded "Maple Leaf Rag" (on a Columbia Personal Record). This certainly points out that Scott Joplin's influence must have still been quite strong, and that Banjo orchestras were very popular. Later, Haenschen (when working for Brunswick Records) would help one of the periods best banjoists - Harry Reser - to achieve fame.

During the 1910s, Haenschen juggled a performing career with his "Day" job as manager of the "talking machine" department of the Scruggs, Vandervoort & Barney store in downtown St. Louis. His abilities in selling the "new fangled" talking machines must have deeply impressed the editors of "Talking Machine World" magazine for he was often one of their subjects. An article in the August 1916 issue of Talking Machine World magazine stated Haenschen was

    ".....the newest recruit to the talking machine selling game in ft. Louis...he 
    is manager of the Victrola department of the  Vandervoort Music Salon."

    "Mr. Hanschen is a graduate engineer, but had never followed that business.
    After he left school he continued his music studies, and before he entered
    the talking machine business he was locally famous as an exponent of ragtime
    music and he managed and led an orchestra that was extremely popular during
    the dancing revival. For the last two years his orchestra supplied music for
    the open air dances given by the city in the parks." 

In 1916, the Brunswick-Balke-Collender Company, then famous as a maker of billiard and bowling products, decided to enter the talking machine industry, - but only as a maker of phonographs - 'talking machines'. Their products were successful enough such that, in 1919, Brunswick introduced their own brand of Records. Haenschen was hired to manage the Popular Records Department for Brunswick-Balke- Collender Records in July, 1919. One of his duties including leading Brunswick's house band consisting of studio musicians, with personnel varying from session to session, and his group of musicians was among the first to record for Brunswick, cutting sides in October 1919. "Karavan" and "Romance" were issued in 1920 on Brunswick 2011, one of the first in Brunswick's popular music series, which began at #2000. "La La Lucille" and "My Cuban Desire" were issued on Brunswick 2012.

As mentioned, Haenschen "invented" the 'Carl Fenton('s) Orchestra' name when he joined Brunswick Records. Early Brunswick record catalogues included a small photograph of the "Carl Fenton's Orchestra" (but regretfully, we do not have a copy of that photo to place online). Once, in a Cecil Leeson interview (mentioned below), Haenschen explained how the 'Carl Fenton' name came into being. When he joined Brunswick, their executives realized that the Haenschen name was not too appropriate for a record Label. Haenschen remembered the town of Fenton, Missouri, a town on the Meramec River near St. Louis, He told Leeson, "How do you find a name? Just pull it out of a hat......"Carl" may have been suggested by "the girls in the (Brunswick) office...somebody thought it sounded good."

The "Carl Fenton's Orchestra" would occasionally play in public (usually to promote new Brunswick retail establishments.) In the Leeson interview, Haenschen said that violinist "Rudy" Greenberg led the orchestra in public. Interestingly, after Haenschen left Brunswick in 1927, Ruby Greenberg (Haenschen always called him "Rudy", but virtually all other sources use "Ruby"), who had played as a member of Haenschen's "Carl Fenton's Orchestra", and other Brunswick house orchestras, purchased the rights to use the 'Carl Fenton Orchestra' name and even recorded some sides for Gennett Records, in 1927, 1928, and 1929.

Saxophonist Cecil Leeson, (1902-1989) taped conversations (in the 1970s) with various musicians active early in the 20th century. During a 1973 interview,(now in the Lesson collection of the Univ. So. Dakota Library) Haenschen stated that in the early 1920s

     "almost all of (the) orchestras of Brunswick were pretty much the
     same men... We did the dance tunes always with the same pick up
     group. One or two men changed maybe --a different trumpet to give it
     a different style. We had names that were always called 'Fenton's
     Orchestra' when it was in reality the 'Rudy Wiedoef Orchestra', with 
     usually the same men, or Kenny Krueger (orch.), and that name would 
     be put on. (That is: The 'Carl Fenton Orch' name. --Ed.)" 
     

     "I spent practically every day with these boys and somebody would hit a
     good lick and he'd repeat it...many of these arrangements were never put
     on paper." (he mentioned Paul Whiteman as "the first one to really get
     legitimate arrangements.")

In April 1925, Walter Haenschen married Rose Anna Genevieve Hussey (who later changed her name to Roxanne). She had been working as an executive assistant to one of the Brunswick executives (Milton Diamond). It turned out to be a happy marriage and the union produced three offspring Barbara, Betty, and Richard. Haenschen took the occasion of the couple's honeymoon trip to California to arrange for new Brunswick recordings by Abe Lyman and other orchestras.

In the Leeson interview, Haenschen mentioned the 'Ray Miller Orchestra'. He told why Ray Miller's sidemen for the Brunswick Label's 1923 orchestra differed from musicians Miller had used for earlier Okeh and Columbia records: (but on the Brunswick recordings, pianist Tom Satterfield was the arranger, not Haenschen).

     "You want to hear something about Ray Miller? That was my orchestra too...I put
     every man in there...Ray was a good drummer, but that's where it stopped. We hired
     --this is all Brunswick now, when I say 'we,' it's Brunswick-- we hired all the
     men and they stayed with Ray for several years. Even very popular players
     would make that their permanent stock and he did an awfully good job for
     Brunswick. I mean we sold a lot of Ray Miller records." 

    ".....for the sole purpose of recording the inimitable Jolson with
    Gene Rodemich's Orchestra, and also Isham Jones' Orchestra, which 
    journeyed from Chicago to record with Al. There were also several 
    new numbers recorded by the (Mound City) Blue Blowers."

The January 1925 issue (TMW) reports, in an article on Nick Lucas,

    "In his recording work Mr. Lucas has been coached by Walter Haenschen,
    musical director of the Brunswick recording laboratories, and his first
    record shows that this training has been of great value."

During his career, Gus Haenschen worked with many stars. The December 1924 issue of 'Dominant Orchestra Monthly' gives credit to Haenschen when discussing how banjoist Harry Reser, of Dayton, Ohio, became a recording artist. The label on Brunswick's (5012) recording of 'The Isham Jones Rainbo Orchestra' playing "Jean" states, "Piano Passages by Alfred Eldridge and Carl Fenton." (Trombonist Carroll Martin was the arranger.) And, a David Wallace article, in the February 1937 issue of 'Popular Songs', (about "Jones and Hare - The Happiness Boys" reported that "...It was Gus Haenschen, now a noted orchestra leader but then recording manager for Brunswick records, who suggested (late 1920s) that Billy Jones and Ernie Hare pool their talents."

In 1927, Brunswick director P. L. Deutsch departed Brunswick during a corporate shake-up. Haenschen and Deutsch were close friends, and so, in June 1927, Walter G. Haenschen also resigned. He had been musical director of the Brunswick Recording Laboratories, since 1920 - possibly their most prolific period, (His replacement was Louis Katzman as Musical Director and William F. Wirges was appointed recording director.) In September 1927, Haenschen became the "recording director" of the Sonora Phonograph Company, a company that had only recently been purchased by his friend Deutsch. However, not withstanding all the public announcements, nothing ever came of plans to issue new Sonora label discs. Still, during the 1930s, this writer (Murray L. Pfeffer) does recall the "Sonora" brand of table model AM radios.

Haenschen told Leeson

     "When I left Brunswick...this very intense radio activity started. We had
     six or seven dates a week on radio and making records was sort of forgotten....
     I think one of the big mistakes in my life was that I sort of pushed that
     aside....I made very few records for myself and never put out a record with
     my name on it." 

Starting in 1928, the first syndicated Transcribed radio programs began, and the firm Sound Studios of New York Inc., was formed to meet a new demand for the new transcription records. In 1929 Haenschen was appointed musical director for Sound Studios, which firm would become a principal maker of World Broadcasting Company transcription records. An Article in the January 1932 issue of Radio News Magazine stated,

    "Gustave Haenschen and Frank Black, vice-presidents of Sound Studios, high
     priests of the broadcast program and creators of such outstanding
     achievements as the Palmolive, General Motors, Chase & Sanborn...and many
     other famous national broadcasts, are credited with having been largely
     responsible for the high quality of art in the better electrical
     transcription field." 

In the 1940s Gus Haenschen and the Emil Cote Serenaders provided the music for Pet Milk's program 'Saturday Night Serenade', - singer Vic Damone's first big success. (The program later evolved into 'The Pet Milk Show' -1948-1950). During the World War II years, he conducted an all-string orchestra for the Stroh's Beer radio show (from Detroit). In 1963, he began working for G. H. Johnston Inc., producers of the Metropolitan Opera Broadcasts.

The March 29, 1980, issue of the Norwalk Hour newspaper carried his obituary,

    "He received the honorary degree of Doctor of Music from Ithaca College in
    1945, and, since 1948, served as a member of the Board of Trustees of the
    College. Upon completion of his 25th year of service to the college, he was
    honored by a special concert at the College's 1973 spring commencement.
    Haenschen himself was conductor, and the concert was narrated by longtime
    friend and Metropolitan Opera announcer, the late Milton Cross. His
    extensive scores, orchestrations and research materials have been donated
    to the college and during the 1973 commencement ceremony were dedicated as
    'The Gustave Haenschen Collection.'"  

      [ Cass Hagan Orch. ]
b. 1904 d.
Cass had several bands during the 1920's all of which were very popular with both musicians and the public. Among the sidemen who appeared with the bands were: Bob Ashford, trumpet; Bix Beidebecke; Tommy Dorsey; Lennie Hayton; Red Nichols; Pee Wee Russell, and Jack Towne, sax.

Cass retired from the business in 1937. The musicians who worked with Cass have fond memories of the band and of the freedom that Cass gave to his soloists.

      [ Al Hahn and his Swingcopators ]
b. March 1897, d. Oct. 1980
né: Albert Otto Hahn
Instruments: Banjo, Accordion, Bass
In private coorespondence, Darlene (Hahn) Hildreth, Al Hahn's daughter has graciously shared her thoughts with the BigBands Database. Here are some of her cherished memories.
"....(my father) went by the name of Al Hahn, although I have newspaper clippings referring to him as Alfred, Alberto, Albertus, Algus, Albert, Algy, Algus, and Alphonso Hahn. He was a bandleader (and bass player, accordionist, and banjo player) in the 1920's and 1930's at clubs and theaters in St. Louis, MO such as the Coronado Hotel, the Chase Hotel, the Pagoda Room at Mission Inn, and The Crystal Terrace at the Park Plaza, as well as travelling to many other cities like Shreveport LA, Peoria IL, Oklahoma City OK, St. Paul MN, and Omaha NB. Many of his performances were broadcast over local radio stations. His band was referred to by various names, such as Al Hahn's "Sitting Troubadours", "Hot Timers", "Swingcopators", "St. Louisians", "New Swing Orchestra", and Al Hahn and His "Biggest Little Band"."

"He started his music career as a banjo and accordian player in St. Louis, and was leader of a jazz band in South St. Louis. In about 1925, he was named the winner of the St. Louis Star-Times Personality Contest for Male Members, and Most Handsome Man In the City contest. He was a member of the Creve Coeur Musician's Union, and was the drum major for the Musicians Post 394 American Legion Band, winners of the National American Legion Championships, and several state championships in the mid-thirties. They were designated as the "Official Band of St. Louis" by Mayor B. Francis Dickmann in November, 1936. In 1974, he was named a life member of the Musicians Association of St. Louis, Local 2-19."

      [ "Chuck" Hall Orch. ]
Here's a small album of interesting photographs. First, a close-up of Chuck Hall, who led his 1940s band from his homebase in Austin, MN. The band played mostly midwest locations such as the Music Box, in Omaha, NE, USA, and a different view of the Orchestra playing for some dancers, also at the "Music Box" (the club was located over a bowling alley). Some of the other venues at which the band played are 'The Terp' in Austin, MN - 'The Prom' in St. Paul, MN - 'The Surf' in (I think) Cedar Rapids IA, all three of which were owned by the same man. Here are a couple of good close-ups, -one of Chuck Hall wailing on his Saxophone, and one of Carol Day, 'Chuck's' vocalist (her last name is not definite).
The BigBands Database Plus thanks Mr. Charles Claycomb, Trumpeter with the Chuck Hall Orch., for these wonderful photographs, and his memories of the band.

      [ Fred "Sugar" Hall and his Sugar Babies ]
b: 1898, d. October 10, 1954
Pianist Fred "Sugar" Hall began his career working as a "song plugger" and composer for various music publishers. Fred, and his partner Arthur Fields, composed hundreds of songs, The team was often joined by George D. Wiest as a co-composer. some of their compositions did meet with modest success. Lyricist Billy Rose helped the team with a lyric for their song "I Got A Code In My Dose", Among the other tunes that Fields and Hall wrote are "Big Rock Candy Mountain"; "Brother Bill's The Sheriff"; "Did I Do Wrong" (the team was joined with Carroll Loveday); "Dry Bones" (words/music by Fred Hall); "Every Jack Must Have a Jill" (Hall/Fields/Wiest); "Hang It In The Henhouse" (Hall/Fields/Bert Van Cleve); "Hinky Dinky Parlez Vous" (Fields/Hall); "How Dry I Am" (Fields/Hall); "I Love A Ukulele"; "The Jungle Dancing School" (Hall and Carroll Loveday); "The Lonesome Trail"; "The Mule Song"; "One Hundred Years Ago"; "A Plate of Spaghetti and You"; "She Cost Two Dollars"; "Starlight Bay"; "Sweet Potato Song"; "Yazoo Mississippi"; "Your Folks and My Folks", and perhaps a hundred or so others. The team had a good 'feel' for what the carefree, happy-go-lucky public of the 1920s wanted, and when Fred formed his orchestra, he gave it to them with a varied mix of happy Novelties, 1920s Hot Jazz, and ballroom dances,

Fred's band(s) were most active during the 1925 to 1932 period. The group - varied from seven to nine men - and usually had a front line consisting of Fred Hall, leader on Piano (he rarely soloed); Philip D'Arcy on Violin - Harmonica -and 2nd Piano. Jack Mollick on trumpet (Mike Mosiello from 1929 on); Harry Blevins on trombone; with Eddie Grosso on Clarinet and Alto Sax. The rhythm section had Albert Russo on Banjo; Al Morse on Brass Bass (Tuba); and Joseph Mayo on drums. His composing Partner, Arthur Fields, would later record 6 Duets with Hall before the team broke up in 1932.

These men worked (and recorded over 160 selections) under a great variety of band names including Billy James' Dance Orchestra, Arthur Fields and his Assassinators, Arthur Fields and the Noodlers, The Tin Pan Paraders, The Hometowners, Fred Hall's Comedy Entertainers, and The Pennsylvania Melody Syncopators.

During the late 1920's, both Fred Hall and Arthur Fields were seen on "The Sunday Driver" radio show. The team broke up in 1932. It was the height of the world wide economic depression, and their brand of high spirited music had gone out of style. Hall (who joined ASCAP in 1939) continued working as a composer right up to his death in 1954, at age 56.

      [ George Hall Orch ]
Themes:
Early on: "Love Letters In The Sand'
Later on: "Every Minute Of The Hour"
Here's a photo of George Hall. (That moustache must have been all the rage ca. 1941. Take a look at our photo of Mal Hallett. ) George Hall's bandleading career started when he recorded for the ARC label in March 11, 1927, as George Hall's Arcadians. This band contiued to play in various New York hotels until the depression took its toll in the late 1920's and early 1930's.

The first Geo. Hall band wasn't a very good one, George played violin, and his fiddle seemed to be in the way, rather than augmenting his arrangements, which were mostly stock arrangements and sounded like them. His 1927-1928 recordings featured vocals on occasion by Scrappy Lambert, Fred Wilson, Leroy Montesanto, and Irving Kaufman -- these men were studio vocalists, and it is doubted that few of them ever sang with the band during their hotel dates.

Not much is known about his very early career since no recordings were made, however in 1931, he helped popularize "Love Letters In The Sand' and adopted it as his (first) theme song.

While playing at New York's Taft Hotel, Hall landed a recording contract with RCA's Bluebird label. During his long stay at the Taft, his band got good radio coverage, and he began a talent for featuring excellant vocalists with the band.

Loretta Lee sang on the initial Bluebird recordings in 1933, and were it not that the recording industry was still recovering from the depression years, and that the public had not yet fully caught the big band craze, Loretta Lee would be better remembered today for she was as good as the best. Her recordings reflect that, however she was just slightly ahead of her time.

Hall continued to record many of the popular songs of the 1930's, and Loretta Lee made her last recording with Hall, March 5, 1935, retiring to become a housewife and mother. Sonny Schuyler was assigned to the vocal recordings until July 12, 1935 when Dolly Dawn joined the band.

Dolly continued to sing and record with the band through 1941, recording for Bluebird, Variety, Vocalion and Okeh. Here's Dolly and George Hall in a publicity photo of the day.

In April of 1937, "The Modernaries" (who later rose to fame with the Glenn Miller Orch.) recorded with the Hall orch., "Spooky" Dickinson (Hal Dickinson), sang with Dolly; Variety 544, Variety 547.

During one point in her fabulous career, Dolly was simultaneously under contact to two rival record labels: RCA (Bluebird label), singing with the George Hall Orchestra, and Columbia's Jazz label, Vocalion, as Dolly Dawn and Her Dawn Patrol. Eventually. Hall decided to turn his band over to Dolly, and serve just as its manager. Pn July 4, 1941, he staged an elaborate ceremony at New York's Roseland Ballroom, and officially turned over the band's leadership to Dolly. It was perhaps the peak of Dolly's popularity, but World War II changed everything. In less than a year, Dolly Dawn and Her Dawn Patrol disbanded as the musicians were drafted into the U. S. Armed Forces. Miss Dawn continued to pursue a solo career, but never reached her previous success.

Dolly was a very talented vocalist and continued to record, and play club dates after the Hall-Dawn dynasty finally ended. When the above notes were written (in 1997), Dolly was alive and well. Sadly, she passed away on Dec. 18, 2002, at age 86. (We have some additional notes on her career in our February Calendar )
Above notes on Geo. Hall courtesy of Mr. James Zerr

      [ Henry Hall & his BBC Dance Orch ]
An very well known English Orchestra operating in the 1920's-30's. Please see the Henry Hall, entry on our British Bands Database.

      [ "Sleepy" Hall Orch ]
Theme Song: "Sleepy Time gal"
Currently no information available.

      [ Mal Hallett Orch ]
b.     d. Nov. 20, 1952, Boston, MA, USA.
Instruments: Violin
Theme Song: "Boston Tea Party"
In a magazine article entitled 'Smooth as Satin: Jazz Master and Honor Member Bobby Pring', by Leo Ball, published by Allegro, Volume CV No. 11, November, 2005, Ball, talking about trombonist Bobby Pring said:

       "Immediately after graduation, he (Bobby Pring) joined
       the top New England territory band fronted by Rudy Wallace,
       who, a few months later, turned the band over to violinist
       Mal Hallett. Mal was a heavy imbiber of the spirits, and
       the more he drank, the worse he played. One day, the band
       stopped at a garage, and Mal, feeling no pain, embarked on
       a search for the men's room, which resulted in his falling
       into a grease pit, breaking his arm, and, to the delight
       of the band, ending his violin playing forever.

Here's a photograph of violinist and leader Mal Hallett, who at Six and a half feet tall, waxed moustache, and wavy hair, was an impressive leader. He graduated from the Boston Conservatory of Music. In private correspondence, trumpeter Ed Downs has sent some rare photos of the Hallett band. The first is a photo of the Mal Hallett Orch. Brass section, onstage at a club whose name is now no longer recalled. The bandsmen were:
Back row:
     Ed Downs on trumpet
     Don Fagerquist (Big name amongst the older musicians and later a major studio musician -and
         a tremendous player)
Front row:
     Dick Taylor 1st trombone you see (he was also a top drawer arranger)
     unknown
     unknown
     Red Wetherington
     unknown
     unknown
     Vocalist Dorie Vincent seated on far right.
This next picture was taken during WWII, at a serviceman's club inside a Quonset hut. shows the Hallett band with Bob "Lips" Levine, (in his uniform) playing the sax in front of the band. Ed (Eddie Downs, as he was known then) is the 3rd trumpet player from the left. The 3rd sax is Red Wetherington. (The poorly resolved image of the girl in the front of the piano is vocalist Dorie Vincent.) Billie Jo, trumpeter Ed Down's wife, has said:
     "Bobby "Lips" Levine, who was stationed there had came to see
     Ed Downs as they had both played together since Ed was 13 and
     Bobby was12 years old. Bobby made quite a name for himself and
     before his death he took over (via the Crosby Estate) 'The Bob
     Cats' (whom he had played with and travelled extensively with as
     'Bobby Levine and The Bobcats'.

Another photo taken at the same time in the same Quonset hut club, shows the Hallett band with a "boy" singer - possibly Joe Seymour - at the microphone.

During WW1, Hallett toured France as a member of the Al Moore Orch. In 1929, his career as a bandleader began when he started recording for Edison. Hallett's 1930's orchestra toured all over the New England states, usually in one-nighters. He was pioneering a "Swing band" before "Swing bands" had been invented.

A visitor to this site has sent the following reminiscence which he attributed to Elizabeth M. Horton (663 Main Street, Haverhill, MA, USA) which was quoted by John M. Holman in a story about the Dance Carnival at Hampton Beach in New Hampshire.

   "I remember that dance hall as a place of pure glamor! We girls of towns 10 or 15
   miles away seemed to make it every night during the summer. In my crowd, someone had
   a car. The dance floor was so beautiful, the fellows (we called the best and most
   attractive ones 'cageys'), so handsome in their wide bottom gray flannels-plus fours
   (or even plus eights) worn with colored argyle type golf hose and suck-like apparel.
   (No ragged jeans in those days!) The girls wore short dresses, short hair but curly,
   and rolled silk stockings (not yet nylon) and fancy garters to keep them up. When the
   nights were hot, the management opened the windows on the ocean side and delicious
   breezes wafted over the dance floor.Murphy's Orchestra was very good always, but the
   greatest attraction was Mal Hallet on a Saturday night. We all thrilled to the music
   of Mal Hallet and when he went into his feature, the band would demonstrate such
   pieces as "Horses, Horses, Horses" accompanied by the members standing up and riding
   hobby horses (which now seems more corny than it was). Also, they played and acted out
   'Collegiate, Collegiate, Yes, We Are Collegiate ....'. This called for a freshman cap
   and a crazy outfit. Others, too, but I forget. One piece I remember particularly, was
   called 'After The Storm'. Then the music would roar, the lights would go out and all
   was dark until the make-believe storm was upon us and the 'lightning' would flash while
   the lights would go on and off and the roar of the music was really something!
   But not even then as loud as the music the grandchildren are accustomed to today. We
   were the innocent ones. (And WE were called the 'roaring twenties'!) Anyway, sometimes,
   I realize we danced all evening without taking any money except just enough to get in
   and maybe some of us had a few dimes or a quarter or two in our pocket. Often not,
   that I'm sure. We would just breeze in and would get a partner immediately. Sometimes,
   he would be someone we knew and sometimes he would be new. From then on, we seemed to
   have every dance. Now and then, somebody went 'beaching', for a little while."

All during the 1930s and the Big Bands era, touring orchestras were in great demand for College Proms, and other Collegiate events. Hallett's band was no exception, as this reprint of a 1934 Massachusetts Institute of Technology flyer attests. Do notice the list of sidemen, - Spud Murphy, Jack Jenney, Gene Krupa, and "Toots" Mondello. Not too shabby a group!

   Friday, February 9, 1934 -
   Widely Known Orchestra Which Will Furnish Music for Prom

   "MAL HALLET AND HIS ORCHESTRA"
   "JUNIOR PROM BAND IS LED BY MAL HALLETT"
   "(Continuted fromn Page 1)"
   "Former prices have ranged from $8 to $15."

   "By a special arrangement with the Management of the Statler Hotel, it was
   announced that drinks will be available at the supper for those desiring them. The
   dance will commence at 10:30 and will continue until 4, with an intermission
   for supper which is to be served at 12. This year marks the first time in the history
   of the prom that legal liquor will be served. Had the affair been held in Walker, as
   in past years, such a privilege, of course, would not have been perrnitted."

   "Band Has Noted Entertainers Chosen by the Committee particularly because of his
   band's reuptation for entertainment, Hallett has promised to bring all of them
   with him, and to put on one of his regular shows as a part of the program."
   "Among his features are:"Toots" Mondello, 20 year old impersonator of Ted Lewis,
   who has been delighting audiences with his mimics for more than 5 years; Joe ("Tubby")
   Carbonaro, who doesn't care whether you give him a violin,a cello, or a tuba.
   (Even a guitar is all right); Jack Jenny, formerly with Isham Jones, who does a job
   with the 1st trombone as only a protege of Isham Jones can; Lyle Murphy, formerly
   with Jan Garber, who plays the Tenor Saxophone, and who makes up the arrangements
   for the band; Gene Kroper (sic: he meant Gene Krupa. --ed.) formerly with Russ
   Columbo, who does an original drum solo; Frank ("Flying Fingers") Carle, piano
   solist; and others equally as capable and famous. In fact, the group has more than
   once been termed "The finest aggregation of musicians and entertainers ever banded
   together". In addition, there will be several feature vocalists."

   "Poster Contest for Eleventh OpenHouse Announced Fifteen Dollar Prize Will be Given
   to Winner of Competition"
   "Announcements of a poster contest for Technology's Open House indicate that the
   eventful day will soon be here. The contest -was announced by the chairman of the Open
   House Committee, who stated that a prize of $15.00 would be given to the winner. The
   poster is to be printed in black,-or in one color in ink, on either white or a colored
   background, on a sheet 11'" x 17". The following printing must be on the poster:"

   "1934 Open House
   Massachusetts Institute ofTechnology
   Cambridge, Mass.
   Saturday, May 5, 1934
   2 to 10 P.M."
A 1945 Flyer of the Massachusetts Institute of Technology (XV, No. 10 Cambridge, Mass., Friday, March 30, 1945 Price Five cents) said:

   "Hallett Conducts:
    Popular Orchestra Mal Hallett, whose orchestra will play at the Junior Prom, has
   long been known as a provider of Grade A dance rhyrthms. At one time or another,
   Hallett has had in his band Gene Krupa, Frankie Carle and Jack Teagarden. According
   to reports the current combination is the smoothest yet. A good many people think so,
   for it is one of the bands that are heard repeatedly on Oaca-Cola's Spotlight Bands.
   The most recent appearance was last Saturday night when Hallett played on the nationwide
   hookup from an Army base at Lake Placid."

   "Other recent appearances of the group were at Hotels Commodore and Park Central and
   the Paramount Theater (all) in New York; Frank 'Daly's Terrace Room, in Newark, NJ,
   and the Cocoanut Grove in Los Angeles, CA."

   "Among his other achievements are the introduction of a good number of hit songs, including
   "Dearly Beloved", "Let's Get Lost", and "I Left My Heart at the Stage Door Canteen".

His bands included many musicians who would later achieve fame as great sidemen. Among these are: Gene Krupa (drums),  Buddy Wise (sax),  Toots Mondello (sax - see Note below.),   Jack Jenney,   Jack Teagarden (t'bone),   Lyle "Spud" Murphy (who later contributed those great Benny Goodman band arrangements),   Frankie Carle (piano),  Mickey McMickle (trumpet),  Buddy Welcome (sax),  Dick Taylor (trombone)  and Boots Mussulli (sax),  Brad Gowans (trombone, valve trombone, cornet, clarinet),  Turk Murphy (Trombone), and  Floyd O'Brien (Trombone)

One of the vocalists who appeared with Hallett's band was Irene Daye, (Jan. 17, 1918 - Nov. 1. 1971). and one of his sidemen was Gene Krupa, who later led his own band, where Irene Kaye also sang briefly. Another of his vocalists was Teddy Grace. Another of his vocalists was Clark Yocum, who later became famous as one of the Pied Pipers chorus. Joe Holmes was a singer and guitarist (Born 1897 in McComb, MS, USA, Died 1949) who worked with both Mal Hallet and Lizzy Borden.
Hal Mallett died in 1952, in Boston, MA, USA.
(The Big Bands Database Plus thanks Mr. Ed Downs for permission to reproduce the above photos from his private collection.)
Note: The photograph of "Toots" Mondello (Left) and Sy Quinto (Right) taken at Fort Devens, Massachusetts, USA during 1943 (WW2) is reproduced here by courtesy of Mr. Marc Giaquinto. For more information on Sy Quinto, please see our entry for the Felix Ferdinando Orchestra

      [ Henry Halstead Orch. ]
b: Nov. 16, 1897, El Paso, TX, USA. d: March 19, 1984, California, USA.
The Halstead Estate has kindly granted permission to reproduce this "scrapbook" of early photographs Firstly, here's a Memphis Press-Scimitar newspaper clipping, that nicely shows some of Halstead's early history. One of the interesting sidelights in this story is the reference to future British Bandleader Roy Fox playing with the band. Here's a very nice photo of Henry Halstead who formed his first band early in 1922 for a booking into San Francisco's St. Francis Hotel. Their nightly hour-long broadcasts over radio station KGO brought them fame on the west coast as well as in Hawaii. The St. Francis engagement lasted until 1929. Here's an Advertisement showing the bandsmen when they were playing at the St. Francis Hotel , in San Francisco (June 15, 1929). This next photo MAY show that 1922-'29 Orchestra, that played the St. Francis. The "girl" singer's name is not known. (Possibly "Honey" Gordon). If so, it is the only known photograph of her. Next, here's the Park Central Hotel (NYC), advertisement when they were playing in New York City (not to be confused with the much more famous Cocoanut Grove room in the Ambassador Hotel in Los Angeles, CA), and here's how New York's Park Central Hotel, looked back then, and still does today (2008). Next, three photos of the band at different times, Halstead Orchestra (2), then Halstead Orchestra (3),  and this photo, Halstead Orchestra (4)   -the man with the violin bow may be Leo Gerckens, of Musicians Union Local 6, and the band's manager. Here's a very interesting photo of a Plantation Cafe Advertisement. Screen star Fatty Arbuckle owned this club, and visitors may wist to read more about Arbuckle and the Plantation café in our Nightclubs, history page. (Halstead's orchestra was a favorite of all the Hollywood stars)

At just age 19, Halstead's professional career started with him playing his violin at the tables in local clubs and hotels. Circa 1919, he formed a trio with Abe Lyman and Gus Arnheim, two men who go on to become famous Big Band Leaders in their own right. Then, these young men formed a small band for an engagement at the Sunset Inn in Santa Monica, California. Abe Lyman played drums and Gus Arnheim played piano, and Roy Fox occasionally played the trumpet with them. Roy Fox later became one of England's best known bandleaders. Here's an autographed photo that Abe Lyman, gave to Henry Halstead. The legend reads "To my boy Henry" The boy I started with. "Here's Hoping" Your boy, Abe"

In 1923, actor/comedian, Cliff Arquette (b. Dec. 28, 1905, Toledo, Ohio, USA, d. Sept. 23, 1974, Burbank, CA, USA. Age: 68), who was also a night club pianist, joined the Henry Halstead Orchestra. It is virtually unremembered today, but Hollywood actor Lew Ayres (B. Dec. 28, 1908, Minneapolis, MN, USA, d. Dec. 30, 1996, Los Angeles, CA, USA. Age: 88) was also discovered while playing in Halstead's 1927 band. Ayres later wrote: "I was a member of Henry Halstead's orchestra in 1927 at the Mission Beach Ballroom, San Diego, Calif....summer. My instruments were tenor banjo, long-neck banjo and guitar. After a hiatus, I rejoined Mr. Halstead with a new group, including Phil Harris, on New Years Eve the same year for the opening night of the Beverly Wilshire Hotel... a memorable occasion." Red Nichols played trumpet in that band.

Soon, Henry decided to go into business for himself, and began by leasing a Ballroom in Seattle, WA. But first, he went to Los Angeles where he assumed leadership of a band ("Palais Royal Orchestra" 1923 ?) that had lost it's leader. This new band was, in time, to include such stars as Hal Chanslor, Ross Dugat, Phil Harris, Dick Hart, Don Hopkins, Glen Hopkins, Craig Leach, Zebe Mann, Abe Maule, Chuck Moll, Red Nichols, Harold Peppie, Ernie Reed, and Ted Schilling. The band then traveled to Seattle and opened at Henry's own ballroom. This business venture started successfully, but soon ran into union trouble. One of the sidemen had become romantically involved with the daughter of the Union President. Here's an autographed photo that Phil Harris, presented to Henry Halstead. The legend reads "Dear Hank, What ever I amount to is due to my early training with you, Phil"

Leaving Seattle, the band briefly played in Tacoma and Spokane; and then toured back down to San Francisco for a booking into Tait's Pompeiian Room. Halstead took the band into Los Angeles' Lafayette Hotel early in the spring of 1926, where Red Nichols joined them. After the Layayette Hotel, the band was booked into the Edgewater Beach Club in Santa Monica, and followed that with a long stay in the Plantation Ballroom.

Over the years, many vocalists performed with the Henry Halstead Orchestra including "Honey" Gordon (not to be confused with a teenage "Honey Gordon" who began singing with Charlie Mingus in 1951), Maxine Harding, Myrtle Harwin (later with both with Leo Reisman and Jay Whidden bands), Niela Goodelle (b. Sept. 8, 1910, Worcester, New York, USA, d. May 26, 1988, New York, New York, USA), Margaret Reed, Peggy Mann (later replaced Bea Wain with Larry Clinton Orch.), and Clarence Rand, His band made over 100 phonograph records (mainly for the Victor label).

It is interesting to note that in the late 1920's, Hollywood developed 'talking' pictures. This was a new market for musicians. Today, Halstead is credited with being the first dance band to make a movie short, - the 1927 Warner Brothers production of 'Carnival Nights In Paris'. In the early 1930s, Halstead disbanded and retired to Phoenix Arizona, where he entered the real estate business.
The Big Bands Database Plus thanks The Henry Halstead Estate, and Mr. Ken Pearson for all of their generous help with this Henry Halstead entry.. All photographs are the property of the Halstead Estate, and reproduced here by permission.

      [ George Hamilton Orch. ]
b. Dec. 12, 1925, d. March 6, 1994
né: Faye Leighton Jepsen.
Theme song: "I"ll See You in My Dreams"
Currently no information on this USA west coast band. The band was homebased in Los Angeles, but did tour widely, - at least as far east as Chicago, IL, USA. In 1934, members of the Hamilton band included "Spike" Jones (d), Ray Robbins, (tr) and Leighton Noble (p-voc). He toured with the band, finally leaving it in Chicago when Hamilton returned to Los Angeles. These three men are purposely listed. All three were inter-related in so far as they appeared in each other's bands. For example, both "Spike" Jones and Leighton Noble played in the Ray Robbins orchestra, while Ray Robbins had early begun his professional career playing in the Hamilton Orchestra, alongside "Spike" Jones. In 1933, Nobel, joined the George Hamilton Orchestra, then based at the Biltmore Hotel in Los Angeles. (Hamilton was the father of the movie, and later television, star of the same name.)

      [ Johnny Hamp & The Kentucky Serenaders ]
Theme Song: "My Old Kentucky Home"
Johnny was born and raised in Lancaster, PA, USA. He enjoyed local ballroom dancing and attended many dances in his youth. One night he was at the Hershey Ballroom, in Hershey, PA. That evening, the leader of the band had a falling out with the musicians. He skipped out on them early in the evening, leaving them unpaid. Johnny Hamp happened to hear all of this and, being the fearless rascal that he was, offered to lead the band that night, and afterwards agreed to come on board as their new leader. That band was the "Kentucky Serenaders", and Johnny simply added his name in front. (One of our readers, Mr. John Landry, has mentioned that a copy of Radio Station WLW's weekly the "Crosley Review" notes, in a mid-1923 edition, that a "Jazz orchestra will be featured....". The band was "The Hotel Sinton's Kentucky Entertainers under the direction of J. E. Hamp.")

Nervous, chubby and somewhat aggresive by nature, Johnny was more successful with the 1920's Serenaders than with his later big band. But, it was the later band that introduced two fine singers, - Johnny McAfee and Jayne Whitney. McAfee lead Tony Pastor's sax section in 1939 (I guess that it would be fair to say that Tony Pastor was +the+ lead saxist with the orchestra.) Later, McAfee joined Harry James, as a vocalist, after Dick Haymes left in 1941. Listen now to "Angry", recorded in 1925 by Johnny Hamp and His Kentucky Serenaders. (Victor 19786 9-19-1925) Music: George Brunies, Jules Cassard, Abbie Brunies, Mecum

During the late 20's, 30's and early 40's, the Kentucky Serenaders played in the US and in Europe, finally settling in Chicago as a house band for one of the big hotels.
Above notes courtesy of Ms B. J. Hamp.

      [ Lionel Hampton Orch. ]
b: April 12, 1909 Louisville, KY, USA. d. August 31, 2002.
Bandleader, vibes, drums, piano
Theme: "Flying Home" (Victor 26595- rec.1940); (Decca 18394- rec.1942)
Overview
Raised in Chicago, IL, Lionel Hampton, began his career there as a drummer for various local bands. He eventually moved to California where he played with Reb Spikes, Curtis Mosby and Paul Howard. In 1929, his first recordings (as a drummer) were made with Paul Howard's Quality Serenaders. But, he never achieved fame until he joined the Benny Goodman Orchesta as a vibrophonist. His vibrophone work in Benny's small groups - quartets, quintets, etc., was outstanding and is still loved by musicians all over the world even today. Hampton is alive and well, living in New York City (1998).

In 1930, Les Hite took over the Howard band. In the early 1930's Hite's band was used by Louis Armstrong for backing on his recordings. (Louis "borrowed" more orchestras than any other musician of the time.) It was while Armstrong was leading the band that Hampton switched from drums to vibes.

In 1936, he formed his own band for an engagement at The Paradise Cafe in Los Angeles, where he was 'discovered' by Benny Goodman. He was signed to make recordings as part of Goodman's Quartet and soon after he joined Benny's orchestra as a full-time member. While with Goodman he made many records with studio groups consisting of members of that band, sometimes supplemented by other name musicians.

In 1940, Lionel left Goodman to form his own big band which he led until 1946. His major hits were "Flying Home", "Hamp's Boogie Woogie" and "Central Avenue Breakdown". Hampton continued to lead groups of various sizes into the 1990's.

Dinah Washington (who Hampton discovered) was the vocalist, and among the sidemen who appeared with the band were Illinois Jacquet, Arnett Cobb, Dexter Gordon, Earl Bostic, and Milt Buckner. The band was recorded by the Victor, Decca, and Verve labels.

Lionel is alive and well today, and living in New York City. He occasionally teaches music at the New School. Recently (1997) he escaped unharmed from a fire in his apartment, which was started by a lamp short circuit. Lionel remained active, and occasionally leads small groups in the Harlem clubs and elsewhere. Regretfully, he passed away in August 2002. One of our truly great Jazzmen.
Thanks to Mr. Robin Lenhart for this L. Hampton entry.

      [ Manny Harmon Orch. ]
b. August 4, 1909, Philadelphia, PA, USA, d. March 5, 2003, Century City, CA, USA. Age: 93 (natural causes)
Here's a photo of Manny Harmon, a Big Band leader whose fame is due mainly to his playing at all of the Republican National Conventions from 1956 through 1992. However, he also spent 17 years as a Musical Director for the RKO Film Studios, and also was musical director of the "Miss Universe" pageant for several years.

      [ Jerry Murad and the Harmonicats ]
Jerry Murad (né: Jerry Muradian) b. Turkey; d. May 11, 1996, Liberty Township, OH
Al Fiore (né: Al Fiorentino) b.1923; d. Oct. 25 1996, Chicago, IL USA
Don Les (né: Dominic Leshinski) b.1915; d. Aug. 25 1994, Madison, WI. USA
Overview
Here's an old Booking Agency photograph of The Harmonicats, an all-harmonica trio operating mostly from the mid-1940s well into the 1960s. Their main competition was another harmonica band called "Borah Minnevitch's Harmonica Rascals", from which group came two of the Harmonicats . Both groups appeared on vaudeville stages and in Hollywood films.

In 1944, Jerry Murad and Al Fiore had left another - more famous - group called Borah Minevitch and His Harmonica Rascals. They formed their own trio with the addition of Don Les. Murad was the Lead, Don Les handled the bass, and Al did the chording. They became a very, very successful act and in 1947, their recording of "Peg O' My Heart" reached number 1 on the charts.

Up to the mid-1950s, the trio recorded for the Columbia label , then they switched over to Mercury for a few years before returning to Columbia, - staying there until the late 1960s. Their 1966 album, 'What's New, Harmonicats?', is a wailing and rocking powerhouse, as the trio lets loose on such numbers such as "Blowin' in the Wind" and "Get Off of My Cloud."

Murad and Fiore often played duets in their appearances with Richard Hayman's orchestra in various Pop concerts. Murad kept himself busy by writing several Harmonica Instruction Books, and also released some albums on his own record company label. Murad and various versions of the Harmonicats remained active until Jerry's death in 1996.

Among the Harmonicat recordings are:
Cats Around The Horn, Mercury-Wing MGW 12216
Cherry Pink and Apple Blossom White, Columbia CL-1556
Command Performance, Mercury MG20122
Dolls, Dolls, Dolls, Mercury-Wing MGW12242
Fiesta!, Columbia CL-1863
El Cid, Moon River, and other movie music, Columbia CS8553
Fiesta, Columbia CS 8663
Forgotten Dreams, Columbia CS 8745
Forgotten Dreams, Columbia CL-1945
Greatest Hits, Columbia CS 9511
Harmonicha-Cha-Cha, Mercury MG 20391
Harmonica Rhapsody, Columbia CL-2341
Harmonicats' Selected Favorites," Mercury MG20074
In the Land of Hi-Fi, Mercury MG 20362
Peg o' My Heart, Columbia CL-1637
Selected Favorites, Mercury-Wing MGW-12133
Sentimental Serenade, Columbia CL-1757/CS8557
South American Nights, Mercury MG20107
That New Gang of Mine, Columbia CS 9074
The Cat's Meow, Mercury MG20136
The Love Songs of Tom Jones, Columbia CL-2166
Try a Little Tenderness, Columbia CL-2090
What's New, Harmonicats?, Columbia CS 9225

      [ Marion Hardy's Alabamians ]
Please see our Cab Calloway, entry.

      [ Harris Brothers Texans ]
Overview:
This band was operating in the mid to late 1920's. Little biographical information is available. They did record 6 titles in three different sessions, all in a Dallas, TX, U.S.A. studio; Nov. 1928; October 1929, and again in January 1931. Two of the earliest, "Somebody Stole My Gal", and "The Pay Off", both from the 1928 session, show good style. "Gut Bucket Shuffle" from their 1929 session really marks them as a superior group.

In private correspondence, Mr. Jack Harris, nephew of Abe Harris (and Grandson of 'Monk' Harris), has recalled
     "My grandfather's name was Myer Isadore Harris; "Monk' as he was
     called. His birthdate was Jan 1894, He died in 1989 or '90. His
     two brothers were Abe and Lou. Uncle Abe was the one that started
     the band. He was a drummer in WW1, and then Uncle Louie had the
     band when they did the recordings. Harry Samuels, a childhood friend,
     did the vocals and played sax."

Here is a picture of Original Harris Brothers Orchestra, in the days before they ever recorded. In this photo, Abe is drums, Lou is on trumpet, Harry Samuels on sax, and 'Monk' on trombone (piano and clarinet not currently known). The pose, - such a delight to see today -, is so very typical of the early 'Jazz Age' bands. It is interesting to note the band's instrumentation included an early Xylophone model. (The sign is hanging on it.)

(Mr. Harris continues:) "Then, 'Brunswick Records' came to Dallas with their equipment to do the recordings. (I am not sure in which town they did them.) Here is a photo Harris Brothers Dallas Country Club Orch.. The personnel on this later picture is:
L to R Bottom row
Murray Lambert-piano, Gene Hammel-sax, Abe Harris-drums, Lou Harris-trumpet
L to R Top row
Lieb Mayo-banjo, unknown, unknown, unknown, unknown, Paul Skinner-trumpet, Harry Samuels-sax and vocals."
"My grandfather wasn't in this picture so I don't know if he had left the band or just wasn't available."

Here is still another photograph of this wonderful group, this time of The Harris Brothers Texans Band.   The series of photographs presented here show the Harris brothers playing just about every style of music, --from the "roaring '20s Jazz Age", to Country Club, to Western Swing as "The Texans". Surely this is a tribute to the brother's musicality.
The BigBands Database Plus thanks Mr. Jack Harris for the above information on his Grandfather'swonderful bands, and for his permission to reproduce these rare photographs.