[ Arnold Johnson and His Paramount Hotel Orch. ]
b. March 23, 1893, Chicago, IL, USA. d.
Arranger, leader, pianist, composer.
Theme song: "Breakaway"
At just age 14, Arnold began career working as a pianist in a Chicago, IL, Chinese restaurant. He went on to study music at the Chicago Music College and the American Conservatory of Music, and got his first band job with famed early saxophonist Rudy Wiedoft.

Common belief is that, after migrating to New York in 1919, Arnold organized and led the 'Frisco Jass (sic) Band'. However, there is a good possibility that the "Frisco Jass Band" was still another band incarnation of jGus Haenschen, musical director for Brunswick Records. For example, a 1917 recording lists Rudy Wiedoeft, as the leader of the Frisco Jass Band. In 1922, Johnson played at the Pelham Heath Inn in New York city. In the mid 1920s he briefly left the music business and sold real estate in Florida.

He returned to music in the late 1920's and led what was considered to be his best band. The band appeared in two Broadway Musicals: George White Scandals of 1928, and Greenwich Village Follies of 1928. In 1929 the band was also featured in another Broadway musical, "Earl Carroll's Sketch Book." Between shows, he played night clubs and theater dates alternating between Chicago and New York. He quit the band business in the early thirties, when most people considered his band to be his best band ever, and found work in the radio studios as a musical director and a producer.

His career continued through the 1930s and into the '40s. He became musical director and producer for several radio shows, including the popular National Amateur Night in New York. He and the band also appeared on several film shorts. During World War II he frequently entertained U.S. troops in Europe.

He was the composer of several popular songs including "O" and "Does Your Heart Beat For Me?"

Some of the most notable sidemen who worked in his bands were, (future composer) Harold Arlen, Vic Berton, Bob Chester, Scrappy Lambert, and both Danny Polo and Pete Pumigilo on reeds. Still other sidemen included Hector Marchese on alto sax, Lloyd Williams on trumpet, Gary Gillis on drums and Marty Quinto on violin/banjo/guitar. Besides the Broadway musicals, the band did some film shorts in the early thirities. As a composer, Johnson's best

Here's a great photograph of the Late 1920s Arnold Johnson Orch. ]. (We thank Mr. Marc Giaquinto for permission to reproduce the picture.) The reverse side of the photo bears the legend, "To my pal Marty and Mignon (ed.: wife) who sure can cook. --Harold Arlen.
We thank Mr. Ken Tidwell for this bio of Arnold Johnson.

    [ Charley Johnson and His Paradise Club Orch.]
Band was known to be operating in the late 1920's, under the name of 'Charlie Johnson's Paradise Ten', a fixture at Small's Paradise in Harlem. Jimmy Harrison played trombone. Edgar Sampson played Violin (yes, Violin - not sax). One of Benny Carters first dates was with this orch.

    [ Freddy Johnson Orch. ]
b. March 12, 1904 d.
Instrument: Piano
Brief Chronology:
At age 20, he had his own band.
1925, working in the Elmer Snowden orchestra.
1926, Working with Billy Fowler.
1927, With Henry Sapard.
1928, With Noble Sissle's band, then with Sam Wooding.
1929, European Tour (Late 1929).
Tenured at "Bricktop's" club in Paris. (In her autobiography, Bricktop never mentions that Freddy was one of the two pianists playing at her club.)
1930, Led another band.
19xx, working with Arthur Briggs.
1933, with Freddy Taylor orch. j
Johnson and Lex Van Spall had a 9 piece band that recorded on Decca F-Series. Van Spall named his group "Chocolate Kiddies" after Sam Wooding's group. ("There has never been so much 'Hot Cocoa' as during this period of labelling bands of black players." -- Thomas Jackrell) It was Freddy Johnson who helped famed French Discographer, Charles Delaunay, to differentiate between such American jazzmen as Joe Smith, Tommy Ladnier and Rex Stewart on Fletcher Henderson's recordings.
Source Ex: Joslin's Jazz Journal, Nov. 1988. (Article on Delaunay by writer: Thomas Jackrell)

    [ Johnny Johnson and His Hotel Statler Orch. ]
AKA: Johnny Johnson and His Statler Pennsylvanians
Themes, "After All" and "If I Could Be with You."
Pianist, Organist, Composer, Conductor.
né: Malcolm Johnson, circa 1902, Washington, IN
Johnson's career started by playing both piano and organ at area night clubs, while attending Indiana University. His first band job was with the Harry Yerkes orchestra. In 1922. he formed his own band which was only mildly successful despite having some solid personnel such as Jack Teagarden, and for a short time Red Nichols. Johnson also had some great vocalists including Lee Johnson, Walter Batsford, Bob Teaster, Harry McDaniel, Al Jennings, Sam Browne and Franklyn Bauer. In 1926 he disbanded and joined Ben Bernie's band as a pianist. In the late twenties he organized another band, but again success was not to be. As the thirties started, for financial reasons, he switched from semi-hot music to sweet music and found a much greater opportunity for work. In 1936, he appeared on the Tasty-Yeast radio program, and here's a photograph of the 1936 Johnny Johnson Orch., graciously submitted by Mr. Peter Doyle. Johnny Johnson disbanded for the last time in the early forties and settled in New Jersey where he taught piano and organ while occasionally playing piano in local clubs. Among his best remembered recordings are "Lullaby of Broadway", Thou Swell" and "Sunbeams."
Thanks to Mr. Ken Tidwell for this entry on Johnny Johnson.

    [ Jones and Collins Astoria Hot Eight ]
Davey Jones (tenor sax) and Lee Collins (trumpet) had been playing in the early 1920's. The 'Jones and Collins Astoria Hot 8' band is one of only six early New Orleans 'Black' bands that were recorded in New Orleans during the 1920's. (The other five were: 'Louis Dumaine's Jazzola Eight'; 'Armand Piron's New Orleans Orchestra'; 'Fate Marable's Society Syncopaters'; 'Oscar "Papa" Celestin's Original Tuxedo Jazz Orchestra', and 'Sam Moragan's Jazz Band'.)

Bio on Lee Collins:
b: Oct 17, 1901 New Orleans, LA, USA; d: July 3, 1960 Chicago, IL, USA.
Collins was a star trumpeter of old New Orleans who later led many dance bands, Dixieland groups and combos during his 50 year career. While still a teenager, he was already playing in the old New Orleans Brass Bands, including the Young Eagles, the Columbia Band, and the Young Tuxedo Band. Collins, a very talented trumpeter, was much in demand. Most of the bands he formed in the 1920's were organized for a special engagement or recording session. He also co-led bands with "Pops" Foster, "Zutty" Singleton and "Jelly Roll" Morton.

Very few folks recall now that, in 1924, it was Lee Collins who replaced Louis Armstrong in King Oliver's Chicago band. In the late 1920s, he returned to New Orleans and cut four wonderful sides as the "Jones-Collins Astoria Hot Eight" (1929). The lineup for the Jones and Collins group included Lee Collins on trumpet, David Jones on tenor sax, Sidney Arodin on clarinet, Theodore Purnell on alto sax, John Robechaux on piano, Al Morgan on bass (and vocals), Emmanuel Sayles on banjo, and Joe Strode Raphael playing the drums.

When this writer was still not quite a teenager, he lived in New York, around the corner from the Commodore Record Shop. The owner of that shop often re-recorded some of the very early (and rare) Dixieland releases, --by Subscription only. If you thought you would like the release, you would pay your 2 dollars up front, and when the shop had enough subscribers, they would 'cut' the new master. I very well recall subscribing for two of the Jones and Collins Hot 8 sides. Listen now to the band playing "Duet Strut", (Victor -38576-B ) and, on the reverse side, to "Astoria Strut" - (Victor -38576-A) (One of this writer's favorite Dixieland Jazz records has always been this 'Jones And Collins Astoria Hot Eight' playing "Astoria Strut" and "Duet Stomp". My copy was the Commodore label re-release.) Incidentally, back in 1929, they also recorded "Damp Weather", (Bluebird B-10952-A) and on the reverse side "Tip Easy Blues" -(Bluebird B-10952-B).

In the 1930's Collins worked with Johnny Dodds and formed a band that toured the U.S.A. until the mid 1940's. Collins also played briefly in 1930 with the Luis Russell orchestra in New York, before returning to Chicago, where, throughout the 1930s and '40s, he was a regular fixture in Chicago clubs and often accompanied many of the local Blues singers.

In the 1950's his health declined, however he continued to tour including tours of Europe, one with Art Hodes, and again in 1951 and 1954, with Mezz Mezzrow. However, with declining health, he soon became ill and had to retire. Interested visitors to this site would well appreciate reading his autobiography "Oh Didn't He Ramble", which is filled with priceless stories about the early days of New Orleans Jazz.

    [ Isham Jones Orch.]
b. Jan. 31, 1894, Coaltown, OH, USA. d. Oct. 19, 1956, Hollywood, CA, USA
Theme Song: "You're Just a Dream Come True"
Please also see: Isham Jones Entry, on our "Tunesmiths" Database for much more information.
Overview
Here's a photograph of Isham Jones, who was equally famous as a Bandleader and as a Composer. And, here's the Isham Jones band in 1920 playing "La Veeda", digitally re-engineered by Mr. Verne Buland. This recording is a good examplar of the two musical styles that were briefly together at that time. The first two thirds of the record had the Jones band playing in the traditional music style that had been present for many years previously. The last third of the record shows the 'newest' - "Hot" style of the Roaring Twenties then coming into musical fashion.
Isham formed his first band when he was just 20 years old, and toured Michigan playing many dance dates. He next went to Chicago for some advanced music studies, after which he secured bookings into some of Chicago's top spots including 'The Green Mill'; 'The Rainbow Gardens', and then remained with 'The College Inn' for 6 years.

Woody Herman played Sax and vocalized with the Isham Jones Band and Gordon Jenkins was the pianist- arranger. Jenkins later became Frank Sinatra's favorite Musical Director.

His 1921 recording of "Wabash Blues" (Dave Ringle lyric; Fred Meinken music), featuring Louis Panico on trumpet, was a huge hit. (The previous year, Henry Busse's trumpet work had helped Paul Whiteman's recording of "Wang Wang Blues" become a hit.) Isham was a great composer as well as band leader. Among his hit compositions are:
       1923 "Swinging Down the Lane"
       1924 "It Had to be You".
    Sung here by Marion Harris. Harris was born in 1898, is perhaps best remembered for her work with
    Bix Beidebecke and Frankie Trumbauer, but she was quite famous before Bix
    and Tram were! Marion began recording in 1916 when she was 18 years old.
    She eventualy moved to the U.K. and enjoyed success in London as a
    cabaret artist. This is Marion singing "It Had To Be You" when she worked
    with the Isham Jones band. (Digital re-engingeering by Mr. Verne Buland.)
       "The One I Love Belongs to Somebody Else"
       "I'll See You In My Dreams"
       "My Castle In Spain"
Among the other 200 or so songs that he wrote are:
       "There Is No Greater Love"
       "You've Got me Crying Again"
       "On The Alamo";
       and the band's theme, "You're Just a Dream Come True".

Here's a photo of the Circa 1932 Jones Orch.. The first Jones band dis-banded in 1936. He put together another band in the '40's, but it never achieved the heights of his original orchestra. (Many of the Jones Alumni formed the first Woody Herman Orch.) He was an outstanding leader of dance bands who went on to International fame. Isham died Oct. 19, 1956

    [ Jonah Jones Quintet ]
b. Dec. 31, 1909, Louisville, KY, USA d. New Jersey, NJ, USA.
né: Robert Elliott
Overview
Here's a 1958 photograph of Jonah Jones, who was a fine trumpeter with good ability to 'build' his solos gradually, often interpolating both growls and mutes, until it reached a peak of excitement. His music was 'happy' music, music that would make the crowd jump with joy. Still, he could blow the Blues with great poignancy.

Jonah often sat in with various bands in his hometown of Louisville, KY, where he also played alto sax, in a Sunday School band that included a young Dickie Wells on trombone. But eventually Jonah switched to trumpet. His first professional jobs were with Othello Tinsley's Royal Aces and on a Mississippi riverboat with Wallace Bryant's Syncopators. In 1928 he toured the Mid-West with Horace Henderson's Orchestra and worked with The Hardy Brothers band in Indianapolis. A brief stint with Jimmie Lunceford in 1931 was followed by a job with Stuff Smith's band (1932-34).

The Stuff Smith band found some work in Hollywood around this time, and Jonah appeared in the Conn-Ambassador low-budget film, 'Thanks for Listening'. The picture starred Maureen O'Sullivan and Composer/Bandleader/Singer Pinky Tomlin.

Around this period be also briefly worked with Lil Armstrong's big band, and with MicKinney's Cotton Pickers, but his first "big Break" came when he rejoined the Stuff Smith band for a swinging four year residency on New York's Swing Street (52nd Street), at the 'Onyx Club'. It was here that Stuff and Jonah gained their greatest renown. The years 1936-37 found him recording six sides as a member of the Dick Porter Orchestra. These Vocalion records also included Eddie Condon (g), George Wettling (d), Cozy Cole (d), and John Kirby (bs) on some sides. In 1940, Jonah served briefly with Benny Carter and was with Fletcher Henderson in 1941. Jonah then became a long time member (1941-52) of the 'Cab Calloway Orchestra' (and the 'Cab Jivers'). Cab appreciated Jonah, and even recorded a tune "Jonah Joins The Cab". He remained with Cab after Calloway's band was reduced to a small group; - first a Sextet and finally just a quartet. He served with Earl 'Fatha' Hines in 1952-3, and in 1954, Jonah toured Europe as a soloist. In 1955, he formed his quartet for a gig at a New York Club called 'The Embers'. It was pianist Joe Bushkin who got him the gig where he replaced trumpeter Buck Clayton. At the Embers, Jonah played much of the time with a muted trumpet because the Embers management thought it more appropriate for the club's clientele. In 1959, Jonah, - whose recordings of Broadway Show tunes were always popular, won a Grammy for his record "I Dig Chicks". The quartet was popular throughout the 1960's touring Europe, the Far East and Australia and recording 17 albums for Capitol (the most famous being 1957's 'Muted Trumpet'- Capitol T-839) and 4 others for Decca.

In 1969 he recorded an LP for Motown and in 1972 recorded an excellent 'live' album with Earl Hines ('Back On The Street' - Chiarocsuro 118). (Cozy Cole was the drummer from 1969-77.) In 1978, Jonah appeared at a European Jazz festival. He continued to be active and working into the 1980s.

Since the above was written, we have, - sadly - learned that Jonah Jones passed away on April 29, 2000, New York, NY, at age 91. His recordings of "Baubles, Bangles And Beads" and "On The Street Where You Live" had sold millions of copies. From his beginnings, when he studied the trumpet in a Louisville Community center playing Church Music, to playing with some of the greatest Jazz bands of the era, as well as with such "Society" bands as the Lester Lanin and Meyer Davis orchestras, Mr Jones never faltered in his love of music and of life. His effervescence and music will be sorely missed.

   [ "Spike" Jones & his City Slickers ]
b: December 14, 1911 Long Beach, CA, USA. d: May 1, 1965, Los Angeles, CA, USA.
né: Lindley Armstrong Jones
Instrument: Drums
"Spike" Jones formed his first band, "The Five Tacks", while still in high school. Both the band and his nickname have their origins from his dad's co-workers on the Southern Pacific Railroad

During the 1930s, Jones worked with many California based bands, among them Ray Robbins, Earl Burtnett and Everett Hoagland, and Johnny Cascales (later known as Johnny Richards). While with Cascales, Spike, pianist Charlie LaVere, and singer/composer Bonnie Lake formed a trio which played the local Hollywood area clubs. In 1941, he formed his own band with the idea of doing humorous songs and song parodies. This band, -'The City Slickers', became known for including noises such as car horns, cowbells and gun shots on their records. At first, they only did studio recordings for the Bluebird label while Jones continued his studio work with other musicians. Spike was also making Standard Transcriptions in the early '40s while recording the Bluebirds... Bluebird was a Victor label--he didn't switch after the record ban (recorded for Victor 1941-1955). For example, in 1942, when Jones had his first hits, -"Clink, Clink, Another Drink" (Del Porter & Mel Blanc on vocal), and "Der Fuehrer's Face" (Carl Grayson & Willie Spicer on vocal), Spike was also was the drummer on Bing Crosby's hit recording of "White Christmas".

As a result of their studio successes, Jones took the band on a national tour (1943-'44), and in 1944 entertained American and Allied troups in Europe. After the (AFM) recording ban, Jones recorded for RCA Victor, and had hit records with parodies of "Cocktails For Two", "Chloe" and "The Jones Polka". "Chloe" featured a vocal by Red Ingle, who had previously worked for Ted Weems. In May 1946, Ingle left Spike forming his own band, 'Red Ingle & The Natural Seven'. This group had a number of hits on Capitol, including "Tim-Tayshum" with Cinderella J. Stump ("Temptation", with Jo Stafford) and "Cigarettes, Whuskey and Wild, Wild Women". "The Jones Polka" featured Mickey Katz, father of future Broadway star Joel Grey, as vocalist.

In 1946 Jones led two bands. In addition to 'The City Slickers' he made an attempt at leading a dance band. This second band was known as 'Spike Jones & His Other Orchestra'. Helen Grayco, who was Spike's wife and also did vocals with the City Slickers, was the main vocalist of the 'Other Orchestra'. While this band recorded a number of transcriptions, it was a financial failure and lasted less than one year.

In 1947, Spike formed a new version of the 'City Slickers'. He had cracked down on alcohol abuse by members of the City Slickers and, as a result, so few members were left that he had to reform the band. He had a popular radio show (1947-48) first known as 'The Spotlight Revue' and later as 'The Spike Jones Show'. They again toured, this time as the 'Musical Depreciation Revue'. The year 1948 gave Jones his only #1 hit record, "All I Want For Christmas Is My Two Front Teeth" (George Rock on vocal). Rock was also the vocalist on Jones' 1952 parody of "I Saw Mommy Kissing Santa Claus". Jones also had a television show in the 1950's. In the late 1950's Jones was the host/star of a short-lived televison show, Club Oasis.

His last big hits were "I Went To Your Wedding" with Sir Frederick Gas (alias Earl Bennett) on vocal, and "Pal-Yat-Chee" (a takeoff on 'Pagliacci' that featured the vocal group of Homer & Jethro singing). In 1956, he left RCA for Verve Records where he recorded four LP's.

He would record other albums for Kapp (1); Liberty (6), and Warner Brothers (1). By the late 1950's, he began to experience severe shortness of breath and had to travel with an oxygen tank at all times. In 1965, at just age 54, Spike died of emphysema. In 1988, The Spike Jones Story, a documentary about his life, was made for televison. After his death, his son, Spike Jones Jr, led the band for a few years.

Vocalists incl: Del Porter, Carl Grayson, Helen Grayco, Aileen Carlisle, Ruth Foster, "Doodles" Weaver, Red Ingle, Willie Spicer, George Rock, Earl Bennett (aka Sir Frederic Gas), and Purvis Pullen (aka Dr Horatio Q. Birdbath). Ruth Foster, was a dancer

Among the men with whom Spike worked were Billy Barty, George Rock, Earl Bennett (Sir Frederic Gas), Joe Siracusa, "Mousie" Garner, Bernie Jones and Eddie Brandt.

Films:
'Thank Your Lucky Stars' (1943), 'Meet The People' (1944), 'Bring On The Girls' (1945), 'Breakfast In Hollywood' (1946); 'Ladies' Man' and 'Variety Girl' (both 1947); 'Fireman, Save My Child' (1954)
The Big Bands Database thanks to Mr. Jordan Young, for this entry on Spike Jones. Mr Young is the author of "Spike Jones Off the Record"

   [ Louis Jordan and his Tympani Five Orch. ]
b. July 8, 1908, Brinkley, AR, USA. d. Feb. 4, 1975. Los Angeles, CA, USA.
né: Louis Thomas Jordan, clarinet
Overview
A fine saxist, Louis got his big band training with Chick Webb's Orch. He stayed on briefly with Ella Fitzgerald when she took over the leadership of the Webb orchestra after Webb died.

In 1938, Jordan left Chick Webb's big band and formed a sextet called, 'Louis Jordan and his Tympany Five' (the drummer liked tympany), and they debuted at the Elk's Rendezvous, a small Harlem club. The impetus for this move may have been due to his obtaining a Decca Records recording contract. Never-the-less, Jordan's music was well received by the public.

Jordan was a good musician, but his biggest successes, starting in the early 1940's, were due to his extraordinary showmanship. An easy going, fun loving man, his Tympani Five is best remembered for their 'novelty' hits such as "Choo Choo Ch'Boogie"; "I'm Gonna Move to the Outskirts of Town"; "Five Guys Names Mo", and "Caldonia", the big Woody Herman hit. However, he also recorded some real blues songs, "Early In The Morning"; and even romantic songs such as "Don't Let The Sun Catch You Crying".

  VIDEO: "Caldonia"  Louis Jordan and His Tympani Five. Great little clip of Jordan playing one of his big hits. (film clip: GlennCripes )

  VIDEO: "Five Guys Named Moe"   (film clip: GlennCripes )

  VIDEO: "Beware"   (film clip: WesternBling )

Louie Jordan ranks as the #1 R&B artist of the 1940's, and one of the Top 5 all-time R&B artists. He had 57 hits in the 'Top-40', of which 54 were in the 'Top-10'. (Only James Brown was ahead of him, with 58 in the 'Top-10'.)

Overall, Jordan's recordings spent a staggering 28 weeks in the top #1 postion, attesting strongly to the fact that his mix of 'Jive' and Jazz worked well with both live dancers at the clubs, and with record buyers.

Some consider him to be a 'forefather' of Rock 'n Roll. Jordan was voted a member of the Rock 'N Roll Hall Of Fame in 1987. In 1992, his work was celebrated in the Broadway revue, 'FIVE GUYS NAMED MO', one year after it's 1991 London opening.

       [ Jimmy Joy ]
Theme Song: "Shine On Harvest Moon"
During the 1920's the Joy Band (playing some good jazz) toured the Southwest, and cut some sides for the old Okeh Record company. In the 1930's, Joy's Orchestra switched over to a "sweet music" style of band, and become a popular attraction in the Midwest area. He is still remembered because he could play two clarinets at the same time. (both photos courtesy of Mr Leonard Schwartz)

Many of the men who played with the "Jimmy Joys" would go on to greater fame. The band's banjo player, a chap named Smith "Sykes" Ballew, became a widely popular singer. In 1927-'28, Eddie Durham played sax with Jimmy Joy's band, before later becoming an arranger. Durham later led his own "Durham's All Girl Orchestra (while also freelancing as an arranger). The singer/actor Art Lund sang with Jimmy's band before attracting the attention of Benny Goodman. (b. Arthur London, 1 April 1915, Salt Lake City, Utah, USA, d. 2 June 1990, Salt Lake City, Iowa, USA.) And let's not forget Matty Matlock, who first played his clarinet with Jimmy Joy's band. (1907 Matty Matlock, Clarinet, b. Paducah, KY, USA. d. 1978, USA)

  "Wolverine Blues", (418 kb): Jimmy's Joys instrumental

  "Tiger Rag", (432 kb): Jimmy's Joys instrumental

  "Milenberg Joys", (487 kb): Jimmy Joy's St. Anthony Hotel Orchestra instrumental

  "Clarinet Marmalade Blues", (507 kb): Jimmy Joy's St. Anthony Hotel Orchestra instrumental

  "Riverboat Shuffle", (486 kb): Jimmy Joy's St. Anthony Hotel Orchestra instrumental

  "Hay Foot Staw Foot", (545 kb): Jimmy Joy's St. Anthony Hotel Orchestra instrumental

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the Jimmy Joy Orchestra, later beacame a dance band based out of Chicago. Now, In their later days - they were playing in a somewhat more Pop style
  " You're The First Thing I Think About In The Morning", (495 kb): Jimmy Joy's Orchestra with vocal trio. (included O'Shaughnessy, Orville "Andy" Andrews, and Earl Hatch)

  "Cherie Chilly-Pom-Pom-Pee", (578 kb): Jimmy Joy's Orchestra with vocal by Orville "Andy" Andrews. The song was composed by w: Alfred Bryan and m: Pete Wendling. (1928) Rarely heard song.

  "Can't You Understand", (552 kb): Jimmy Joy and his Orchestra with vocal by Orville "Andy" Andrews.

  "From Monday On", (510 kb): Jimmy Joy And His Orchestra with vocal by Orville "Andy" Andrews.

  "No No Nora", (497 kb): Jimmy's Joys Instrumental

The above Jimmy Joy tracks were submitted by Mr. Leonard Schwartz, - and were digitally re-mastered.

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    [ Dick Jurgens Orch. ]
b: Nov. 9, 1911 Sacramento, CA; d: October 5, 1995 Sacramento. CA, USA.
Theme Song: "Day Dreams Come True at Night"
Jurgens had already become an accomplished trumpeter by age 14. Dick and his brother Will formed their first band to play in the summer camps at Lake Tahoe. They worked as garbage collectors during the times when the band was inactive, but within 3 years, the band had it's first residency in one of the local hotels, remaining until booked by San Francisco's prestigious St. Francis Hotel in 1934. ( Here's a photo of the Jurgens 1934 Band, probably taken inside the St. Francis.) It would appear that they were either bad garbage collectors, or fairly good musicians. Time would bear out the latter.

In due course, the band developed into a solid, polished ensemble, with a sound that was ideal for ballrooms and hotels. Guitarist/Trombonist Eddy Howard, an old friend from Sacramento, was the orchestra's first singer. ("My Last Goodbye" was his big hit.) Next came Harry Cool. (Perry Como had recommended him.) Buddy Moreno (guitar) sang up-tempo novelty songs. Here's a photograph of the 1937 Jurgens Band, and another "normal size" photograph of the 1938 Dick Jurgens Band, while for those folks with a slow modems and a little more patience, here's the same photo "full size", which really gives one the "feel" of the excitement at that very moment, as well as showing faces more clearly. The photo shows leader Dick Jurgens, with Ronnie Kemper at the Piano, and their vocalist Eddie Howard, -not singing, but playing the guitar. (All of the pictures shown here were kindly made available, and are used with permission, by Mr. Clay Kemper, Ronnie Kemper's son.

Later, Jurgens had residencies at the Elitch Gardens in Denver, CO, at the Avalon Ballroom on Catalina Island, CA., and also at Chicago's Aragon Ballroom., where he became a friend of the owner.

In WW2, Dick saw service with the U.S.Marine Corps, where he and brother Will toured the South Pacific war areas with an entertainment unit that they had formed. When WW2 ended, Dick returned to Chicago where his band was booked into his friend's Aragon and Trianon Ballrooms. He worked in Chicago until 1956, when he disbanded and went into the High Fidelity retail sales business. In 1969, 13 years after disbanding, he was asked to form a unit for the Willowbook Club, in a suburb of Chicago. The band played there until when in 1976, Jurgens retired.

It is interesting to note that one day Dick Jurgens heard a young mortician, named Elmer (Albrecht), fooling around at the piano with a little tune he had composed. Dick liked it so much that he arranged it as an instrumental for the big band, naming it simply, "Elmer's Tune". Glenn Miller heard the song and liked it so much that he asked Dick to allow him to play the tune with his own band. Jurgens not only graciously agreed, but even had a local lyricist, Sammy Gallop, write a lyric for the song before giving it to Glenn Miller. Miller's version became a national hit.

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    [ Ev Jones Orch. ]
Currently no information on this band that was often heard on Cleveland, OH, USA, radio stations. Here's a photograph of the Ev Jones Orch., with Ev standing at the piano. At one time, a young Alvino Rey played with this band.

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       [ Richard M. Jones Orch. ]
b. June 13, 1893, New Orleans, LA, USA, d. Dec. 8, 1945
né: Richard Marigny Jones
Growing up in New Orleans, Jones suffered from a bad knee and walked with a slight limp. His fellow musicians gave him the nickname of "Richard 'My Knee' Jones", as a pun on his middle name. As early as 1902, while still a youngster, he was playing alto sax and cornet with the 'Eureka Brass Band' (as Crescent City Joymakers, - and other Brass bands too), but was soon playing the piano, which became his main instrument. By 1908, he was playing piano in the "Storyville" district brothels of New Orleans. He subsequently played in the bands of "Papa" Celestin (1918), John Robichaux, and Armand J. Piron. Between 1909-1911, he often led his own small band, "Richard M. Jones' Four Hot Hounds", playing at Abadie's in New Orleans, LA. Joe "King" Oliver occasionally replaced "Sugar" Johnny Smith on cornet. The band never recorded (Oliver later went on to leading his own band ( "King Oliver's Creole Jazz Band ) in Chicago, which included Louis Armstrong on trumpet. In later years, Armstrong credited Oliver as the singly biggest influence on his playing.)

In 1918, Jones relocated to Chicago, IL, (remaining there for the remainder of his life) where he first found work as the manager for the Clarence Williams Music Publishing Co. In 1923, Jones began recording, first as a piano soloist, then as accompanist for singers Blanche Calloway and Chippie Hill on record dates during 1925-1926, and finally leading his own bands "The Jazz Wizards" and "The Chicago Cosmopolitans" (1925-1926). Some of the sidemen who played with him included Albert Nicholas, Johnny St. Cyr, Ikey Robinson, Roy Palmer, Omer Simeon, among others. During the 1920s, he recorded for the Paramount, Okeh, Victor and Gennett labels. For most of the '20s decade, he was the the Okeh label's supervisor of "Race" recordings. In the 1930s, he did the same job for Decca. He then worked as a talent scout for the Mercury Label until his demise.