[ Art Hickman Orch ]
b. June 13, 1886, Oakland, CA, USA, d. January 15, 1930. San Francisco, CA, USA.
Theme song: "Rose Room" (his own composition. - Listen to it below.)

Overview:
It's just possible that Hickman's orchestra might have been America's First Big Band. The band was formed in San Francisco ca. 1913, and gained national recognition when Broadway showman Florenz Ziegfeld brought the orchestra to the East Coast (New York City) to star in one of his Broadway shows. His band was long resident at San Francisco's St Francis Hotel, and other hotels managed by his life-long friend James Woods. Art Hickman is also well recalled today as the composer of "Rose Room".

Here are a pair of very rare Photos. One is shows The Art Hickman Band. That's Art Hickman (far right) waving his baton. While most of the Musicians seem to be enjoying themselves, (especially the Bass player who is tearing apart his Bull Fiddle that is upside down), the violinist seems to be asking himself, if he was sent to the correct 'gig'. Another Photo, a good close up of the Trio, with Hickman at the Piano. One of the other men is Vic King (né: Victor Mesplou), but specifically which one is not now known.
The Big Bands Database Plus thanks Ms. Suzette Estacaille for these wonderful pictures above.

  "Darling", (485 kb): The Art Hickman Orchestra

  Medley-"Japanese Sandman" and "Avalon", (495 kb): The Art Hickman Orchestra

  "Rose Room", (550 kb): The Art Hickman Orchestra. Art composed this tune which became a huge hit; he also made it his theme song.

  "The Love Nest", (500 kb): The Art Hickman Orchestra

  "Whispering", (499 kb): The Art Hickman Orchestra
Thanks to Mr. Leonard Schwartz for contributing these tracks

There is an interesting connection between Art Hickman and the word "Jazz". In time, the San Francisco press corps came to regard Art Hickman as the originator of 'Jazz". This can also be contrasted with Nick La Rocca's (trumpet/leader, 'Original Dixieland Jazz Band') claim to have "invented" Jazz. The San Francisco Press Corps had applied the sobriquet "King Of Jazz" upon Hickman before it became the tag for bandleader Paul Whiteman.

During late February and early March 1913, the San Francisco Seals (Baseball club) were training at Boyes Hot Springs in Sonoma County, north of San Francisco. According to an article in the San Francisco Call-Bulletin, Sept 3, 1938 (by E. T. "Scoop" Gleeson), Hickman had come along "to do a little fraternizing with his friends the newspaper correspondents". In his article, Gleeson said that Hickman suggested to the team's management that he bring up some of his musician friends from San Francisco to put on some dances. When the management agreed, Hickman returned with a band whose makeup is now forgotten, other than it included a banjo (Bert Kelly).

Two people were present that day when Hickman's band played for the Seals in their Boyes Hot Springs training camp. One was James Woods, the manager of the luxurious Hotel St. Francis on San Francisco's Union Square. Woods heard the band, and engaged Hickman to play at the hotel. (Throughout their lives, Woods and Hickman remained good friends. When Hickman died, Woods was one of the pallbearers. Interestingly, Hickman's best known composition "Rose Room" (1917) was named for the hotel's dining room.)

The second man present was reporter "Scoop" Gleeson". Subsequently, Gleeson wrote in his article on the 'Seals' training session (San Francisco Bulletin, March 6, 1913, p. 16),
      "......(the baseball players) have trained on ragtime and 'jazz' and
      themManager Del Howard says there's no stopping them......Everybody
      has come back to the old town full of the old 'jazz' and they promise
      to knock the fans off their feet with their playing. What is the 'jazz'?
      Why, it's a little of that 'old life,' the 'gin-i-ker,' the 'pep,'
      otherwise known as the enthusiasalum [sic]".

Gleeson also reported
      "The players are just brimming over with that old 'Texas Tommy' stuff
      (a popular ballroom dance of the day) and there is a bit of the 'jazz'
      in everything they do".

This may have been the first time the word "Jazz" appeared in print. In the above context, the word "Jazz" simply connotes "peppy" music, --not a specific style of music. (Later, Bert Kelly, the banjoist on that 1913 day at the Boyes Springs training camp, told reporters that he used the label "Jazz Band" professionally beginning in 1914.)

In an interview six years later (San Francisco Examiner, Oct. 12, 1919, W16:4), Hickman said
      ".....(I do) not like the use of the word 'jazz' in relation to music.
      'It has no association with music'....... It means something effervescent.
      The word was born in the first training camp of the San Francisco Seals
      at Boyes Springs, many years ago. The boys, not being allowed to drink,
      would ask for the bubbling water of the springs, calling it "jazz water."
      Gradually, the word was carried to the ball ground, and when action was
      wanted, the boys would call out, "come on, let's jazz it up". That is
      how an orchestra with life came to be known as a "Jazz orchestra."
      But none of us like the word".

From all of these considerations, a case could be made that the application of the word "Jazz" to music seems to have actually begun in San Francisco at about this time. It does seem that while 'Jazz' was a slang expresssion known throughout the United States, including New Orleans, it was only used as slang for sexual intercourse, -not for music. It is interesting to note also that the old time New Orleans musicians didn't apply the word 'Jazz' to their music until ca. 1917, when they moved north up the Mississippi river, and found the word already in wide use. (See Peter Tamony, "Jazz: The Word, and its Extension to Music," JEMF Quarterly, Spring 1981.) The migration North was due to the U. S. Army closing down the 'Red Light' district of New Orleans, - their main source of employment.

During the early 1920s, Art had briefly lived in Los Angeles, CA, before returning to San Francisco, CA. . Back in San Francisco, the young Hickman first found work as a Western Union messenger. In a 1928 interview, Hickman told the reporter:
       "I used to greet with joy the chance to deliver a message to some 'hop
       joint', or 'honky-tonky' in the 'Barbary Coast'. There was music;
       -Negroes playing it, Eye shades, sleeves up, cigars in mouth, Gin and
       liquor and smoke and filth, -but music! There is where all Jazz
       originated" (San Francisco Examiner, April 11, 1928, p. 6).

Brief Chronology:
================
1919
Flo Ziegfeld booked Hickman into the Biltmore Hotel, and then into the Ziegfeld Roof, in New York CIty. The band consisted of Steve Douglas (violin), Walt Roesner (trumpet), Fred Kaufman (trombone), Clyde Doerr (alto and baritone saxes, oboe, and clarinet), Bert Ralton (soprano and tenor saxes and clarinet), Frank Ellis (piano), Vic King (tenor banjo), Ben Black (plectrum banjo), Marc "Mo" Mojica (banjo-mandolin), Bela Spiller (string bass), and Art Hickman (drums and piano).

1920
Hickman's success was such that he sent a 2nd band to London in 1920 (Art Hickman's New York London Five), where they played the Roof Garden of the Criterion Restaurant. Meanwhile the main orchestra returned to the west coast, but Hickman retired shortly afterwards and died in San Francisco, CA., in 1930 at the early age of forty-four.

In 1920,
At the close of the 1920 "Ziegfeld Follies", two of his key sidemen defected, Bert Ralton and Vic King. (Marc Mojica also seems to have left by this time.) Hickman replaced Ralton with Walter Beban, an ex-Marine from San Francisco who, prior to WW1, had played in vaudeville (occasionally touring with vocalist Sophie Tucker). These two men, -Ralton and King, ultimately teamed up to form what became first 'The New York-Havana Band', playing a long engagement at the Gran Casino de la Playa in Havana, Cuba (an engagement originally offered to Hickman), and then becoming 'The Savoy-Havana Band', for an engagement at London's Savoy Hotel.

Sept 1921
Hickman's orchestra inaugurated the Cocoanut Grove of the Ambassador Hotel in Los Angeles, CA, where he worked as director of music for both the Ambassador and Alexandria Hotels in Los Angeles (both managed by his life-long friend James Woods.

June 1923
James Woods hired Hickman as assistant manager and amusement director of the new Los Angeles Biltmore (opened on October 1). This new version of Hickman's band would play in the Supper Room, and was heard on radio station KHJ until till the end of 1925 via one of the first remote radio hookups.

1926
Hickman led his orchestra with the "Ziegfeld Follies Revue" in Palm Beach, when he became seriously ill.

March 1927
Victor recorded the Orchestra at the Clift Hotel in San Francisco. The band was conducted by Walt Roesner, then free-lancing after two years with Paul Ash Orchestra and two more fronting his own symphonic Jazz group, 'The Super-Soloists'.

1928
Hickman returned to San Francisco, and the the St. Francis hotel as a bandleader.

In the summer of 1929, he entered St. Francis Hospital, suffering from "overwork and nervous exhaustion", and also from Banti's disease (Los Angeles Times, Jan. 17, 1930), which involves anemia, enlargement of the spleen, cirrhosis of the liver, and fluid in the abdominal cavity. (all symptoms similar to those of advanced alcoholism).

Hickman occupies a particular niche in history, his appearance in the Ziegfeld follies being the first time a dance band had ever played on stage in a Broadway show. "Click" here for still more information about Art Hickman

Hickman's death was front page news on newspapers everywhere around the United States. The San Francisco Examiner, under the Jan. 16, 1930 headline, "Art Hickman, Founder of Jazz, Dies", carried a story telling their readers "The man who took the tom-tom throbs of San Francisco's old Barbary Coast negro rhythms, adapted them to the wail of the saxophone and twang of the banjo, and gave the world its first Jazz music, died yesterday afternoon at the St. Francis Hospital."

         [ Teddy Hill Orch. ]
Theme Song: Uptown Rhapsody
Theodore Hill, Sax, Born: Birmingham, AL. 12-7-09
In his later years, (1940) Teddy was the operator of Minton's Playhouse, "the home of Bop".

In 1929 - 31, Teddy played sax with the Luis Russell band. He left Luis to form his own band in 1934. The band toured England and France in 1937. His band was a favorite at it's frequent engagements in Harlem's Savoy Ballroom. (The Home of Happy Feet). Inactive after 1940.

         [ "Tiny" Hill Orch. ]
b. July 19, 1906, Sullivan, IL, USA, d. Dec. 13, 1971, Denver, CO, USA.
Themes:
"Angry" - Vocalion 4957
"Litle Girl"
"Moonlight Over Melody Mill" (Melody Mill was a Ballroom in Chicago)
né: Harry Lawrence Hill
Overview
Here are a couple of photographs of Tiny Hill, first a "Sideview" photo of Tiny and Fans, and and a publicity photograph of Tiny. "Tiny" -a svelt 365 pounder of a man - was widely known with the 'tag' of "America's Biggest Band Leader". Yet, curiously, his physique was quite normal until about 1934, when his weight skyrocketed. Early on, his band's style was basically Dixieland-based and with corny novelties, but he also used sandpaper blocks in a "shuffle beat" that was great for dancing. Though originally a banjoist and drummer, Hill became best known for his 1940 vocals of "Angry" (his theme); "Skirts", and for "Sioux City Sue" recorded in what he called his 'double shuffle rhythm'. With increasing fame, the band began touring widely. He played the Aragon and Trianon ballrooms in Chicago, the Inglaterra in Peoria, and the Melody Mill in Chicago. He made his first recordings in 1939 for Vocalion, and later recorded for Okeh. He also recorded 12 sides for Decca, of which only two were ever released (in 1944). From 1945 through 1951, he was with Mercury Records. (James Shaw recalls "a recording of "The Face On the Barroom Floor", which I think was on Okeh.") (The 'flip' side was "You Gotta Quit Cheatin' On Me"). Although Hill sang the vocals on almost all of his records he did use two other vocalists while with Okeh/Vocalion-- Allan DeWitt and Erwin Bendell. At Mercury he used a vocal group, The Hilltoppers. (Allan DeWitt was Jack Leonard's replacement with the Tommy Dorsey band and also sang with Jan Savitt. When Leonard left the Dorsey Orch., he was replaced by a skinny kid named Frank Sinatra, who in turn was replaced by a newcomer named Dick Haymes. (Between Sinatra and Haymes, - a young Ken Curtis held the job for about one week. Ken later went on to become a 'cowboy' star in films and much later played the role of "Festus" on the Gunsmoke TV series.)

Tiny's father died when Tiny was just age 7, and when his mother, Osa, took a position as a teacher, Tiny went to live with his grandparents. Later, Osa married George Ault, and they ran the Mountain View Farm in Fort Lupton, CO. Tiny's 'Sullivan Township High School' years were very active with his participation in athletics and in scholastic organizations. He was president of both the Student Council and his Senior Class He had been in High School plays and operettas, as well as being Captain of the Football team during his Junior and Senior years.

Tiny went on to attend Illinois State Normal University, but had to drop out after two years due to tight finances. He moved to Detroit and was employed as a warehouseman by the Kroger Grocery and Baking Corporation. He next drifted from town to town working at a number of different jobs including truck driver; Mule Driver for the Midwest Canning Co. (Rochelle, IL); factory worker; Farm worker, and even working in a "Five and Ten Cents Store".

Hill began to pick out tunes on Banjo and Guitar. In Detroit, he met an accordion player and the twosome began traveling from Bar to Bar playing just for Tips. Tiny later recalled that the Tips were sometimes more than a weekly salary. Circa 1933, Tiny formed a five piece band called 'Harry Hill and His Five Jacks', that mostly played in the Decatur, IL area. With this band, Tiny began playing the drums. In 1934, he disbanded and joined the Byron Dunbar Orchestra, a popular midwest organization. It was while he was with Dunbar that he began to gain weight. In 1935, he formed a "Fat Man's Band". Each member weighed over 250 pounds. While not a bad idea musically, transportation killed the band.... Model A Ford's couldn't take the punishment of all that weight.

Tiny then formed a band, in August 1935, that would go on to play three winter seasons at Peoria's (Illinois) famed Ingleterra Ballroom, and touring various Resorts during the Summers. In September 1939, the band was heard over Remote WGN Radio broadcasts from the Melody Mill Ballroom in North Riverside, IL. Now Columbia Records gave him a contract, and Tiny had his first big hit with "Angry". The band began touring the USA playing at Ballrooms, Hotel Rooms, and Cafes. In 1943, his band was picked as summer replacement on the Lucky Strike Cigarettes 'Hit Parade Show' (which then originated from New York's famed Carnegie Hall). While in New York and doing the Hit Parade Show, his band was booked in the Hotel Edison's Green Room, and also worked on ABC's "Soldiers of Production" radio show. During one 16 week period at this time, Tiny's band was heard on all four radio networks (ABC; NBC; MBS; and CBS) out of New York.

In 1943, the band was on National Tour again, and also recorded 12 sides for Decca Records. In 1945, the band was again in Chicago, playing at the renowned Aragon and Trianon Ballrooms. Tiny teamed up with the executives of Mercury Records, who were just then forming the company, and became their very first recording Artist (in Dec. 1945). Tiny Hill's band also showed up in La Crosse, Wisconsin on a number of occasions. His last visit to La Crosse was in the late 1940's when he was doing stage shows in movie theaters; in concert with actor/comedian Rufe Davis.

The band's history from then on was one of touring and recording, but, in January 1950, he purchased a 140 dairy farm at Fort Lupton, CO, where Tiny would spend his time when not on the road touring. In 1951 the band traveled 46,000 miles in ten months. In 1952, the band racked up 61,000 miles in 11 months -- all by automobiles... Packard's. Fast cars were one of Tiny's hobbies. In '51 and again in '52, the band was his guests at the Indianapolis Memorial Day Races. Another of his hobbies was cooking. In 1956, Hill opened Radio Station KHIL in Brighton, CO.

Tiny -twice married- is reported to have once said "My Theme song is "I Had Somebody Else Before I Had You, I'll Have Someone Else After You've Gone." Despite the ending of the Big Bands era, Hill continued to play in small combos in the Denver-Brighton area, often returning to the Midwest for guest appearances. Tiny Hill died in Denver, Colorado on December 13, 1971 and is buried in Brighton, Colorado. According to my information, his tombstone reads: "Forgotten by Many, Remembered by Few".

Among the many stars with whom Tiny worked are (to name just a few): Dude Martin ('Western' bandleader); Ruth Dean; Muzzsy Marcellano (aka Muzzy Marcellino); Jack Benny; Beryl Davis; Jimmy Wakely; Tex Williams; famed Actress Marie Wilson; vocalist Margaret Whiting; songwriter Eddy Dean; and vocalist Tennessee Ernie Ford. Among actors and actresses, there were: Bob Hope, Debbie Reynolds, singer Dennis Morgan, Fernando Lamas, Ann Blythe, Dale Evans and Roy Rogers, Jerry Lewis and Dean Martin.

No information on the earliest band lineups are available, but Saxist Danny Windolph reports that the personnel for the Oct. 1965 Hill broadcast from the Hub Ballroom (in Edelstein, IL - near Peoria) consisted of:
1st trumpet: Johnny Halko
2nd trumpet (solos and Dixie trumpet): Don (Shotgun/Shot) Carleton
Trombone: Jesse Stamm
1st tenor sax: Jimmy (Ding-Ding) Van (né: James Van Ostenbridge)
2nd tenor sax: (clarinet solos / Dixie clarinet): Danny Windolph
3rd tenor sax: Art Busch
Piano: Rex Bell
Bass: Unknown
Drums: Lyle Todd
Leader, Vocals and Scratcher: Tiny Hill
Dan Windolph, who played Sax with Tiny, has recalled that:
     "The Gadget that gave the band it's catch phrase 'Double-Shuffle Rhythm'
     was a Latin-style rhythm instrument called a 'güiro'. It's made from a
     gourd that had grooves cut into the sides and was played with a stick to
     give a scratching sound. Instead of the stick, Tiny used a wire coat
     hanger bent into shape to give a louder sound. The bandsmen referred to
     the 'güiro' variously as "The Scratcher, The Scraper or sometime's as
     Tiny's Axe". He actually had a little case for it." (Tiny's Axe is
     currently (5/2000) in Dan Windolph's possession.)
(Note: The güiro is also variously known as a Calabazo, Guayo, Ralladera, Rascador, and is considered a percussion instrument. Typically, other instruments often used in conjunction with the güiro include the maracas, tambourine and one or more guitars.)

And, Danny says the personnel for the 1969 Willowbrook Ballroom broadcast (Willow Springs, IL - near Chicago) were:
1st trumpet: Johnny Halko
2nd trumpet (solos and Dixie trumpet): Ron "Spanky" Davis
Trombone: Mike Monahan (probably)
1st tenor sax: Jimmy ("Ding-Ding") Van (né: James Van Ostenbridge)
2nd tenor sax: (clarinet solos / Dixie clarinet): Neil Whitesides
3rd tenor sax: Danny Windolph
Piano: Unknown
Bass: George Davis
Drums: Bill Pfeiffer (one of Danny's favorite drummers)
Leader, Vocals and 'Scratcher': Tiny Hill

Danny Windolph has told Mr. Doug Booth that "Spanky" Davis was an old friend that he (Danny) 'stole' from Don Glasser's orchestra. Spanky and Tiny - both large men -'hit it off famously'. Spanky is still active (5/2000) and recording in New York City. Danny Windolph further recalls:
     "Tiny was one of the world's great story tellers, as was my father in
     law, Lyle Todd. I used to ride in one of the Cadillac Limos with tiny
     and Lyle just to hear the stories they told about the old days. Oh yes,
     we travelled in two Cadillac Limos of late 1950s vintage. Tiny loved
     big cars... I suppose because of his size. He travelled in Packards in
     the old days, but switched to Cadillacs when they quit making Packards.
     It was great for the musicians because we had plenty of room to stretch
     out and sleep after the job while travellin to the hotel. After Tiny
     died, Spanky and I wanted to have a funeral procession made up of
     nothing but old Cadillacs filled with musicians. Tiny would have loved it." Here is a A Tiny Hill Discography
These notes on Tiny Hill were compiled with help graciously offered by Messrs. Doug Booth and Dan Windolph

         [ Richard Himber Orch. ]
b. Feb. 20, 1900, Newark, New Jersey, USA. d. Dec. 11, 1966, New York, NY, USA.
Theme Song: "It Isn't Fair"
As a child Himber studied the violin, celeste and vibraphone. He started his professional career working on the Vaudeville circuits. In time, he spent three years working with the great vaudevillian Sophie Tucker's act. Later, he wrote some wonderful arrangements for another vaudeville and radio star Rudy Vallee. In 1929 he was with Jean Goldkette's orchestra, broadcasting from Chicago, IL. During 1934, he formed his own band for an engagement at New York's prestigious Essex House (also heard on radio). The band was called "Richard Himber and his Essex House Orchestra". Joey Nash was the vocalist (replaced by Stuart Allen 1935-1939). At that time. The Himber band mostly 'inhabited' New York's Central Park South area (the swank Hotel District). The band had an act called "The Parade of Bands". The orchestra would instantly imitate the playing and theme song of any band called out by the audience. In 1934, his was the featured String Ensemble on the CBS Studebaker Parade of Champions show. Here's a photo of Richard Himber with String Ensemble. Himber is in lower right hand corner talking to his harpist Verly Mills. In 1935, his band was featured on Ludens Cough Drops Program. Here's still another photo of Richard Himber. Himber's early band was a good one especially when Bill Challis was doing the scores. In the 1930's Himber and the orchestra did a lot of studio work, and the band was great (and occasionally original). When the 'bigbands' came along, he completely changed and started using a stylized type of scoring (he called it 'Pyramid' music). His band was voted best band of 1938. During his vaudeville days, he picked up some magic tricks, and also some eccentric dance routines. In later years, he would often entertain the audiences some some of these routines.

Little recalled today, but he also composed quite a few songs. Perhaps his biggest hit composition was "It Isn't Fair". Other compositions include "After the Rain", "Haunting Memories", "Time Will Tell", "Am I Asking Too Much", "Moments in the Moonlight", and "I'm Getting Nowhere Fast With You".

         [ Earl "Fatha" Hines Orch. ]
b: Dec. 28, 1903/5, Duquesne, PA, USA. d: April 22, 1983, Oakland, CA, USA.
né: Earl Kenneth Hines
Theme Song: "Deep Forest"
Overview
One of the all-time great pianists, Earl was a complex and much under-rated musician. He is now considered by many to be the first 'modern' Jazz pianist. Interestingly, some historians feel that it was Louis Armstrong's influence that caused Hines to develop a "trumpet style" of piano playing, in which the right hand plays whole octaves (horn-like) `while the left hand carries the harmony. But, Hinds, himself, has credited trumpeter Joe Smith as his main influence. In any event, he may have been the first to break away from the constant left hand 'Stride' rhythm, sometimes adding unusual musical accents, sometimes completely suspending tshe left hand timing without ever losing the beat of the music. Without question, he had a real penchant for 'broken' 4/4ths rhythm, and using complex meter whenever possible. Hines was a major influence on such other young pianists as Jess Stacy, Teddy Wilson, Joe Sullivan, and Nat "King" Cole. He was also a fine composer who penned such hits as "Rosetta", "My Monday Date", "You Can Depend on Me", and "Stormy Monday Blues", among others.

Earl was born into a musical family. As a young child, he first took some trumpet lessons from his father (a cornetist working at the local coal supply company), but very soon switched to piano, taking lessons from his stepmother (who entered his life when he was just 3). In 1918 (age 13), he began to perform professionally when he accompanied singer Lois Deppe, and made his first recordings with Deppe's orchestra (in the Gennett Richmond, IN studios).

While still a young child, he went to Pittsburgh (Duquesne is a suburb of Pittsburgh) where he attended High School while living with an aunt who sang light opera. In 1919, the 14-year old Hinds found the sounds and rhythms of Pittsburgh's Wylie Street night spots to be irresistible. Here he found a somewhat broader world of music and met bandleaders Noble Sissle and Eubie Blake. In 1924, formed a band of his own that included Benny Carter on saxophone. Then, following advice he had heard from Eubie Blake, he left Pittsburgh and moved to Chicago, where he soon fell in with such Jazzmen as Benny Goodman, Joe "King" Oliver, Frank Teschemacher, "Jelly Roll" Morton, and Louis Armstrong. He found work with several local bands including Sammy Stewart's Band, Erskine Tate's Vendome Theatre Orchestra, and Carroll Dickerson's Sunset Cafe Orchestra. Hines accompanied Dickerson on a 42-week mid-western tour, after which the band returned to the Sunset Cafe.

That Dickerson band also included a young Louis Armstrong on Cornet, and in 1927, Armstrong became the "Front Man" or nominal leader, while Hines became the band's true Musical Director. In 1927, Armstrong and Hines separated after an unsuccessful attempt to manage their own club. Armstrong returned to Dickerson, and Hines joined Jimmie Noone's band then working at the Apex Club. In 1928, Noone's orchestra, with Hines on piano, recorded "Apex Blues", and some other tunes. Hines was also on some important Armstrong recordings including the highly original trumpet and piano duet "Weather Bird". He played with Louis Armstrong's Hot Five and Hot Seven groups. (Hines may have been a collaborator, fellow bandleader, and, at times, competitor of Armstrong, but he was always 'Satchmo's friend.) In addition, he was recording Player Piano Rolls for the QRS company. Indeed, 1928 was a very significant year for Hines. Though working most of the year with Hines' Apex Club Orch., he also recorded his first ten piano solos, including "57 Varieties" "A Monday Date", and "Blues in Thirds". He also formed his own first band in 1928. And, here's a poster of Earl Hines and His Grand Terrace Orch. from 1929. It is interesting to note that in the U.S.A., probibition was in effect, and mobsters all over America were engaged in selling "bootleg hooch", in "speakeasies". One of Chicago's leading gangsters was Al Capone, and Capone loved Hines's playing so much that he always hired Hines to play in the "speakeasies" (nightclubs) that he controlled.

As seen, Earl was playing piano in the early years of Jazz. Later, he would actually claim that HE was the inventor of Jazz. (A claim he shared with fellow Black pianist "Jelly Roll" Morton".) Hines' own orchestra had a long residence at the 'Grand Terrace', a well known Chicago club of the time. There, under mobster Al Capone's protective eye, Hines' band enthralled listeners for eleven years. During this time, the band's popularity increased due to their long road tours around the mid-west. In the mid-'30s, while at the Grand Terrace and later too, Hines band may possibly have enjoyed more radio air time than any American band, and this attracted many gifted sidemen and arrangers.

Some of the finest Jazz musicians played with the 'fatha' at one time or another. In the '30s Walter Fuller and Herb Jeffries were singing with the band. Trummer Young (trombone) went on to the Louis Armstrong and Jimmy Lunceford Bands. Other musicians whose careers he aided were Budd Johnson, Gene Ramey, and Cecil Irwin, One night, during a "remote" radio broadcast from the 'Terrace', the announcer hung the now famous "father" appellation on Hines. Soon, he was often billed as "Earl "Father" Hines, and became known to his fellow Black musicians (and the public) as 'the Fatha'. A colorful character, friends often found him playing the piano and chain-smoking cigars. (another trait shared with "Jelly Roll" Morton.)

By the 1940's, his band included many sidemen who future stars of the 'ReBop' era, including a young "Dizzy" Gillespie, and Wardell Gray. Hines' arranger was Budd Johnson. Budd talked Hines into hiring Charlie "Yardbird" Parker away from the Jay McShann Big Band. And, it was prob bly here that the two formed their friendship and further developed their 'BeBop" style. Unfortunately, the AFM (musician's union) called a strike, and that band never recorded.

It was Billy Eckstine, the male vocalist, who 'discovered' vocalist Sarah Vaughn and convinced the "fatha" to hire her. At one point the Hinds band featured perhaps the two finest pure voices ever to sing Jazz, Sarah Vaughan and Johnny Hartman. Sarah later stayed with Billy when he formed his own band. Sarah's voice was so beautiful, it was almost operatic. Eckstine and Vaughn were a perfect vocal match. Still, for whatever the reasons, the Hinds band never developed a recognizable band sound, and this lack of identity may have been the reason that his band was later eclipsed by Benny Goodman, Duke Ellington, Glenn Miller, Count Basie, and others.

By 1947, Hines gave up leading a big band. In 1948 he rejoined his old friend, Louis Armstrong. Three years later he left Louis in order to perform as a single pianist. In the mid-1960s, he toured America, Russia and Japan. For over two decades, Hines was able to lead very innovative Jazz groups, due greatly to his wonderful ability to change his style yet still retain his own pianistic identity. Interestingly, despite arthritis and heart problems, he was still playing until within a week of his death in 1983. He is well recalled today as one of that small group of pianists whose playing helped shape Jazz history.

         [ Al Hirt Orch. ]
b. July 7, 1922, New Orleans, LA, USA. d. April 27, 1999, New Orleans, LA, USA.
né: Alois Maxwell Hirt
He was 6 years old when he got his first trumpet from a pawnshop, and it proved to be a life-long love affair. in 1939, Al's first professional gig, at the age of 17, was calling the horses to the post at the Louisiana Fairgrounds. From 1940-'43 he studied classical trumpet at the Cincinnati Conservatory until entering the US Army, where he spent much of his time playing with the 82nd Army Air Force Band. Upon his discharge, he freelanced in swing bands led by Tommy and Jimmy Dorsey, Ray McKinley, Benny Goodman and Horace Heidt, but returned to New Orleans in the early 50's and formed his own band, soon becoming the house band for Dan Levy's Pier 600 Club: "the personnel of this 6 piece Dixieland band (including Hirt on trumpet) were: Harold Cooper (clarinet), Bob Havens (trombone), Ronnie Dupont (piano), Bob Coquille (string bass), and Paul Edwards (drums). The information is taken from the liner notes of an old Audio Fidelity LP "Al Hirt -Swingin' Dixie" vol. 2. Audio Fidelity was (one of) the companies that introduced the stereo LP with a Dukes of Dixieland - album. Harold Cooper had also played with the Dukes. Bob Havens went on to play with Lawrence Welk on his TV show, and also played some dates with a revival of the Bob Crosby band. Dupont played piano for Hirt for over 20 years."

"I first heard Al Hirt on the radio from WWL in New Orleans in 1951-'53 when I was on active duty with the USNR and was stationed at Orange, Texas (on the Louisiana border). He had a group called 'The Dawnbusters' that played on the morning show. When I went to New Orleans, he played in a small club off Canal Street (not in the French Quarter)."

Starting around 1955 he sometimes teamed with Pete Fountain (clarinet) and by 1960 had signed with RCA records and made quite a name for himself. During this decade he had several "pop" hits such as "Cotton Candy" and "Java" which introduced him to the mainstream public. His many accompishments include a 1965 standing room only concert at Carnegie Hall and a Grammy for the recording "Java". He also played at the inaguration of President John F. Kennedy. Playing concerts across the country, his sets included Latin, pop, jazz, and classical works as well as Dixieland numbers.

"I also have a book, A Guide to Jazz in New Orleans by Rhoades Spedale Jr. (1984) that has a chapter on Al Hirt ('The Main Horn'). On page 164, Spedale states: "I'd like to be able to tell you about Al Hirt's flirtation in having his own big band in the spring and summer of the early 80's, but Al 'doesn't want to talk about it',- I've been told. Members of the band tell horror tales of salary disparities, a miscreant booker, and receptive audiences, with a total lack of promotion. Al Hirt personally felt the loss of the big band deeply; it was a heartbreak."

"In the past few years, Al Hirt only played when he felt like it, so an opportunity to hear him was always 'chancey' whenever you were in New Orleans. There was a large second floor room above the place he used to own in the French Quarter. This was where he played."

Al recorded more than 50 albums in his career, and played for millions of people around the world including Pope John Paul II and 8 U.S. Presidents. He earned 4 'Gold' albums and 1 'Platinum'. Some of the awards won by Al Hirt are: World's Top Trumpeter (15 different years) by Playboy magazine; Artist of the Year by the Music Operators of America; and the Grammy Lifetime Achievement Award from the Charlie "Bird" Parker Memorial Foundation.

He also appeared in several films:
1962 Rome Adventure
1964 Fanfare For A Death Scene
1965 Electric Showcase
1967 What Am I Bid?
1969 Number One
1988 Sass and Brass: A Jazz Session
1990 New Orleans Jazz Brunch
He appeared on an episode of "Touched By An Angel" on CBS television during the '96-'97 season, and hosted his own television program, "Fanfare", in 1965.

Some other facts about Al Hirt:
Al headlined the half-time show at the first Football Superbowl game in 1967 and went on to appear in a total of 5 Superbowl programs. When Pope John Paul II visited New Orleans in 1987, Al played Handel's "Ave Maria" for him. Sadly, Al Hirt died April 27, 1999 at the age of 76. He will be missed by fans all over the world. How lucky we are to have so much great music recorded by "the man with the golden horn."
The Database thanks Mr. Verne Buland and Mr. James Shaw for this entry on Al Hirt. Please note that the remarks within Quotes were supplied by Mr. Shaw.

         [ Les Hite Orch ]
Instruments: Alto sax; Piano, and Xylophone
b. March 13, 1903, DuQuoin, IL, USA. d. Feb. 6, 1962, Santa Monica, CA, USA.
Theme Song: "It Must Have Been a Dream"
Overview
Les didn't actually form a band, he took over Paul Howard's Quality Serenaders Orch.,in 1930 (in Los Angeles). Les was the leader, never an instrumentalist. It was a well known West Coast Orch.

Gained national fame when he "Lent" his entire orchestra to Louis Armstrong for periods of time between 1930 and 1932. At one time or another, Les' band has such future stars as: Lionel Hampton; Dizzy Gillespie; T-Bone Walker; Marshall Royal; Joe Wilder; Al Morgan; Britt Woodman and Lawrence Brown.

Les matriculated from the University of Illinois after attending the local schools in Urbana, IL. As a young man, Les played sax in his family's band after which he toured with the Helen Dewey Show until it folded in Los Angeles in 1925. He then joined the Spikes Brothers Orch. (1925). After that, he played with a number of different orchestras including drummer Henry 'Tin Can' Allen; Mutt Carey; Vernon Elkins; Paul Howard, and Curtis Mosby. He also fronted his own orchestra at the Soloman Penny's Dance Palace.

Ca. Sept. 1930. Hite was leading an orchestra at New York's 'Sebastian's New Cotton Club', replacing his old leader Vernon Elkins there. He led the band at the Cotton Club for some years with guest stars such as Louis Armstrong and Fats Waller. (In fact, Louis Armstrong would later take over leadership of the 'Sebastian New Cotton Club Orch.) Hite's band did a fair amount of both visual and soundtrack work in the film studios.

The band toured (as was usual) and had residencies in New York in 1937; Portland 1938, and Chicago in 1940. He led a band in Los Angeles from 1942 to 1945 when he disbanded and went into his own business. He managed a talent booking agency for the last five years of his life. He was 59 years old when he died.