By age 6, Mitch had already learned to play the piano. When he was just 12, he began to study the Oboe. After graduating from Rochester's famed Eastman School of Music, in 1912, he played oboe with symphony orchestras in the Rochester area.

In 1932, he joined CBS Radio, and for the next 11 years, was a soloist with the CBS Symphony. During this period, he played with Andre Kostelanetz; Percy Faith; the Saidenburg Little Symphony; and the Budapest String Quartet.

In late 40's, he became director of Mercury Record's Popular Division, where he was responsible for several big hits for vocalist Frankie Laine; THAT LUCKY OLD SUN; MULE TRAIN; and THE CRY OF THE WOLD GOOSE. (Miller also conducted the orchestra for Laine's JEZEBEL and ROSE, ROSE, I LOVE YOU.)

At this time, shortly after leaving Mercury, a 'crossover' of country to popular song was taking place. Patti Page's TENNESSEE WALTZ had become a smash hit (the first successful 'crossover'). Miller had already arranged Hank William's HEY GOOD LOOKIN' into a hit record for Laine and Jo Stafford, while still at Mercury. and he continued with this 'crossover' policy after he moved to Columbia Records. He recorded Tony Bennett's COLD COLD HEART; Guy Mitchell SINGING THE BLUES; and KNEE DEEP IN THE BLUES; Rosemary Clooney's HALF AS MUCH; Jo Staffords JAMBALAYA, and little known Jan Weber's LET ME GO LOVER. Here's an early photo of the Clooney Sisters, Rosemary is on the Right side. Betty on the Left. p>Miller's roster at Columbia also included Johnnie Ray (CRY; JUST CRYING IN THE RAIN; and THE LITTLE WHITE CLOUD THAT CRIED), and also vocalist Frank Sinatra.

The relationship between Sinatra and Miller was taut, with Sinatra rejecting several songs that eventually became hits for singer Guy Mitchell. At that time, the U.S. Congress began an investigation into "Payola", - the practice of payments by record companies to radio stations to promote their records; and by composers to record companies to record their works, etc. After leaving Columbia, Frank Sinatra sent telegrams to the U.S. Senate hearings, and to various judiciary groups, accusing Miller of accepting 'Payola' from writers whose songs Miller had recorded. He also claimed that Miller had given him inferior quality songs.

Some of the material that Miller supplied to Sinatra may have been not in keeping with Sinatra's natural style, but others turned out to be major hits, such as BIM BAM BABY and AMERICAN BEAUTY ROSE. But, MAMA WILL BARK was perhaps the most bizarre production. Frank Sinatra made barking and growling noises, and duetted with a new Miller find, a female with the stage name of Dagmar (né: Jenny Lewis) - a big-breasted, buxom blond beauty then appearing on the Jack Paar Midnight TV Show, in a comedy role.

In 1950, Mitch began a series of successful recordings with his own orchestra (Mitch Miller and his Gang) which was to make his own name widely known to the public. His first hit was the adaptation of the Israeli Folk song TZENA, TZENA, TZENA, followed by such hits as WITHOUT MY LOVER and UNDER PARIS SKIES. His early 1950's recording of YELLOW ROSE OF TEXAS, one of the great marching songs of the American Civil War, remained number 1 on the charts for 6 weeks. Mitch followed that with three hit instrumentals; LISBON ANTIGUA; SONG FOR A SUMMER NIGHT; and MARCH FROM THE RIVER KWAI (also called THE COLONEL BOGEY MARCH). In 1958, he found still more fame with his very successful series of SING ALONG WITH MITCH recordings. These featured an all-male chorus singing turn of the century tunes.

There was a dichotomy in Columbia Records' feelings toward Mitch. Despite the financial gain to Columbia from his record sales, and handling of artists, he had to suffer criticism for his negative attitude towards Rock and Roll. During his tenure at Columbia, he turned down Buddy Holly and other such R&R artists, and was blamed for his company's small market share in that market. On the other hand, his promotion of artists like Doris Day (QUE SERA, SERA), and many others, brought substantial gain to Columbia.

He found himself out of place in the 'Swinging Sixties'http://www.nfo.net/usa/home/nfo/www/

   [ Paul Miller Orch. ]
A "studio" orchestra known, basically, as the 'back-up' orchestra for Kate Smith, The Songbird of the South.

   [ Ray Miller Orch. ]
Here's a photograph of the Ray Miller Orch, and here's the Miller Band (1923-'24) release of (Side 1) Come On Red (You Red Hot Devil Man), (music: Sidney Holden, and words: Fred Fisher) both mid-1920s versions have been digitally re-engineered by Mr Verne Buland), and here's Side 2 (1924) Monovanna...
       "East. Where Parrots Scream and Poppies Bloom
       East. Where Arabs Dream and Tigers Spoon"
       Oh Monavanna Mine, I Swear By Stars That Shine....."

This is a little remembered band of the early 1920's. Among the sidemen who at one time or another played with the band are Muggsy Spanier, Wingy Manone, and Tom Brown. Some of their recordings have really spirited solos on such songs like "Weary Blues"; "Angry"; "Stomp Your Stuff", and "That's A Plenty".

In 1916, Ray Miller was working as a 'singing waiter' in Chicago's 'Casino Gardens', at the same time that the 'Original Dixieland Jazz Band' was appearing. When the ODJB toured to New York city, Miller followed them, and formed his six member 'Black And White Melody Boys' in New York City. The Jazz craze was riding high, and Miller's group originally played in that Jazz manner. One of the bandsmen was trombonist Tom Brown, who, at one time, had one of the very earliest 'White' Jazz bands in old New Orleans. It was probably Tom Brown's talent that allowed the "Black and White Boys" to play true 'Dixieland Jazz". They were featured in several New York musical productions, before Miller established a full-scale dance band orchestra in the early 20s. At times, the band featured such sidemen as
Ward Archer (drums)
Charlie Rocco (trumpet)
Miff Mole (trombone)
Danny Yates (violin)
Roy Johnston (trumpet)
Rube Bloom and Tommy Satterfield (piano)
Louie Chasone (tuba)
Frank Trumbauer, Andy Sinella, Billy Richards and Andy Sandolar (saxophone) and
Frank O. Prima (banjo).
At various times the vocalists were Irving Kaufman, Frank Wright, Harry Maxfield and the Downe Sisters.

They became a highly rated musical attraction in the New York area, where Miller concentrated his activities. This included residencies at the New York Hippodrome, Arcadia Ballroom and Atlantic City. They recorded for Gennett, OKeh, Columbia and Brunswick Records. By the early 1930s, the band members had gone their separate ways.

Listen to 'Ray Miller's Black and White Melody Boys' playing "Whispering". The song was written by John Schonberger and recorded July 1, 1920, in New York for Okeh. This was not an easy one to restore and some debris still remains and here they are playing "You're Like A Ray Of Sunshine".

Ray's band can be heard on an LP issued on the Sunbeam label that also has a few words about Miller, but it's quite difficult to locate. There is also an LP record with transcriptions made for 'The Sunny Meadows Radio Show' in 1939. Mugsy Spanier was featured with the band on those transcriptions. Ray Miller's band made dozens of records for Brunswick (1924-1930), with other sidemen that included Frankie Trumbauer, Miff Mole
The BigBands Database thanks Mr. Verne Buland for contributing these notes on Ray Miller.

   [ Johnny Messner Orchestra ]
Theme Song: "Can't We Be Friends"
Johnny led an orchestra that played the kind of solid dance music that always appeals and that stays popular regardless of musical fashion changes. A Juilliard School grad. Led a 10 piece outfit that played New York's Hotel McAlpin Marine Grill for many years. After WWII, he joined the Vincent Lopez orch in the Hotel Taft as assistant leader, saxist and vocalist. (Lopez's orch. was popular throughout the 20's - 30's and 40's.)

   [ Billy Mills Orch. ]
Billy is best recalled today for his work on the 'Fibber McGee and Molly' radio program. Mills style was typical of the novelty bands of the 1930s; bouncy and frivolous.

"He joined the program sometime in the late 30's. The earliest recording I have with Mills as the leader is dated Jan, 1939. I have a 1936 recording where someone named Hayes Kelly is the leader. Oddly, when the show's announcer, the fabled Harlow Wilcox introduces a band number, he says, "Take it away, Rico!" Later in the program, when giving the show's credits, he says that the band leader is Hayes Kelly."

"I have one program where Mills is featured for appearing on his 10,000th radio performance. This seems a rather large amount of appearances, but McGee and Mills sound serious in their discussion of the feat."

"In 1941, The producers added ex-Goodman singer Martha Tilton to the show. Martha was no Helen Forest, nor was she much of a singer with the Mills band. She left the program after one season."

"Also in 1941, a quartet, 'The King's Men', joined the program. Their work with the band could be quite engaging. The tenor in the quartet had a most distinctive sound. Pleasing on most numbers, grating on some. He appeared with Judy Garland and Mickey Rooney in a 1943 dude ranch movie, the name of which escapes me. His sound stands out quite nicely on a number performed by Garland, "I'm Biding My Time" (Gershwin).
The BigBands Database thanks Mr. George B. Brewer for graciously supplying these notes on Billy Mills.

"As to Harlow Wilcox saying 'Take it away Rico.' I am positive that 'Rico' was Rico Marcelli, whose orchestra did most of the Fibber McGee shows from 1935 'til April or May of 1936. Ted Weems orch took over from June 1936 'til Jan 1938 (with the exception of late Spring 1937 when the McGees left Chicago to make a movie in Hollywood - Jimmie Grier orch. did the show's 1937 California shows). In Jan. 1938 Ted Weems orchestra (including Perry Como & the 'whistling troubador' Elmo Tanner) left for a '6 week concert tour.' They never returned. Billy Mills orch. took over on Jan 17, 1938.
The BigBands Database thanks Mr. Steve Smith for graciously supplying these additional notes on Billy Mills.

   Irving Mills and His Hotsy Totsy Gang
Irving Mills was a Band Agent, and with his brother Jack, co-owner of Mills Music Publishing Company. Irving was also a singer, songwriter and A&R man. Among the bands that he managed were, Cab Calloway,, Benny Carter, Fletcher Henderson, Mills Blue Rhythm Band, and the Duke Ellington Orchestra, which he managed from 1926 to 1939. For the Hotsy-Totsy Gang records made under the Irving Mills name between 1928 and 1930, he assembled some of the greatest White Jazz musicians of the era and often produced spectacular results. Sometimes Mills sang on the records, other times he just arranged the record dates and selected the musicians. Mills was not without talent as a singer.

   [ Mills Blue Rhythm Ochestra ]
Overview
Here's a publicity shot of drummer Willie Lynch, who in 1930, formed 'The Blue Rhythm Orchestra'. In 1931, the ubiquitous band agent Irving Mills became it's owner/manager, changing the name to The Mills Blue Rhythm Orch. Willie Lynch then departed and his place as leader was taken by Baron Lee, who remained until Lucky Millinder took over in 1934. The band operated in the years between 1930 and 1938. The band would often play the Cotton Club whenever the Duke Ellington orchestra was on the road.

The band had a number of different names as well as a number of different leaders. At times it was called Mills Hotsy Totsy Gang, The Mills Rhythm Orchestra, the Blue Rhythm Band, and other names such as King Carter and His Royal Orchestra (when Benny Carter led the group), and still more names too.

At times the personnel included such sidemen as Edgar Hayes on piano, Charlie Holmes on alto, Joe Garland on tenor, and drummer O'Neil Spencer. The 1934 band had Henry "Red" Allen on trumpet, J.C. Higginbotham on trombone, and Benny 'Buster' Bailey playing clarinet. Still later addditions included Tab Smith on altosax, Billy Kyle on piano, and trumpeters Charlie Shavers and Harry 'Sweets' Edison. The band broke up in 1938. Lucky Millinder then formed a big band of his own.

   [ Lucky Millinder Orchestra ]
b. August 8, 1900, Anniston, AL, USA. d. September 28, 1966, New York, NY, USA.
né: Lucius Millinder
Overview
It is said that Millinder didn't play any instrument and couldn't read music. But, with the natural instincts of a true showman, Lucky fronted an always lively and exciting orchestra and played a crucial role in the early development of jump blues, where he provided the vital link between big band Swing and Rhythm & Blues. Some of his sidemen included "greats" such as Dizzy Gilespie; Henry "Red" Allen; Harry "Sweets" Edison; and Charlie Shavers (all on trumpets). Good friends Freddie Webster and Bull Moose Jackson were the Sax men. And there were such pianists as Bill Doggett, Billy Kyle and Ellis Larkins. The "girl" singer was Sister Rosetta Tharpe.

Born in Alabama and raised in Chicago, IL, USA, Lucky started his career in music as a emcee. In 1934, Millinder took over the directorship of the Mills Blue Rhythm Orchestra, one of the 'Black' Swing bands of the 1930s. In 1938, when the Blue Rhythm Band dissolved, Millinder worked with Bill Doggett's band.

In 1940, he formed his own Lucky Millinder Orchestra. Rhythmically exciting, the Millinder band was especially popular in Harlem. The band gradually shifted into playing an early type of R&B music. Decca signed the band to an exclusive recording contract, and from 1942 to 1945 Millinder had four records at the top of the charts, one of which, "When The Lights Go On Again (All Over The World)" featured a young Dizzy Gillespie on trumpet.

Interesting to note, Lucky's sax man, Benjamin "Bull Moose" Jackson, later formed a band, The Buffalo Bearcats, which also went on to Rhythm and Blues fame.

   [ Borah Minnevitch's Harmonica Rascals ]
The members were Leo Diamond; Al Fiore; Richard Hayman; Jerry Murad; Johnny Puleo, and leader Borah Minevitch .
Formed in the late 1920's, the Rascals were the oldest and probably the best known all-Harmonica band. Formed in the 1920s, they performed through the early 1950s. In the early 1940's, Leo Diamond left to form his own trio. In 1944, Jerry Murad and Al Fiore left this group to form the Harmonicats (trio). In the mid-1940's, Richard Hayman, who later led various studio bands, played with and arranged for Minevitch's Rascals. Johnny Puleo, the midget who was the subject of much physical comedy during the Rascal's live performances, also left and found work as a solo artist.

Over the band's career, they appeared on vaudeville and concert stages as well as in a number of Hollywood musicals. Their main 'competition' was a group called 'The Harmonicats', all of whom were original 'Rascals'.

   [ The Missourians Orch ]
Here's a photograph of The Missourians. This midwest band, greatly influenced by Benny Moten's orchestra, began life as Wilson Robinson's Syncopators in the early 1920s. The band was somewhat "cooperative" with Robinson as the 'elected' leader. In 1923, they were called 'Wilson Robinson's Bostonians', In 1925, this was the same group that became the house band at New York City's Cotton Club, where they replaced Fletcher Henderson's Orchestra, who was the first band to play in New York City's renovated and renamed "Cotton Club".

When Henderson left, the Missourians moved in, but under the name of "Andy Preer and The Cotton Club Orchestra". In 1926, the band had such sidemen as: Andy Brown (Sax); DePriest Wheeler (trombone); Roger Q. Dickerson (trumpet), Bill Blue (William Thornton Blue) Reeds, and Leroy Maxey on drums.

In 1927, when Preer died, "Duke Ellington and His Washingtonians" became the house band at the Cotton Club. (They had been playing at the Washington Club off Broadway in New York's Times Square district. The Washington Club had originally be called the Hollywood Inn.) At the Cotton Club, Ellington's band then became known as "Duke Ellington and the Jungle Band". Songwriter Jimmy McHugh, who with Dorothy Fields was writing the revues for the club, had been impressed by Ellington's band and persuaded Cotton Club manager Herman Stark and his partner Dan Healy to go hear them play at the Lafayette Theatre in the show 'Dance Mania'. Shortly after, the Duke signed a contract to appear with his orchestra in the Cotton Club’s upcoming revue.

Ten of the original players departed, changed their name to 'The Missourians' (they were all from St. Louis, MO), and with Ethel Waters as their singer, began touring natiionally. From 1928-'29, the band played regularly at the Savoy Ballroom under the direction of altoist George Scott.

In 1929, Cab Calloway first started working with the Missourians, and, as the Missourians, they cut about a dozen hot recordings for RCA from 1929-'30. Still, the band was struggling and would have disbanded were it not for Cab Calloway, who, in 1930, hired all of the musicians as the nucleus of his own 'Cab Calloway Orchestra' and, interestingly, led them back into the Cotton Club, replacing the Duke Ellington Orchestra that had originally replaced them back in 1927.

But this time the Missourians (whose name was dropped) were quite subservient to its leader, no longer having its own separate identity. And over time, one by one, the musicians were replaced by Calloway as the Missourians passed into history.

   [ Miff Mole and his Molers ]
[ Miff Mole and His Original Memphis Five ]
b. March 11, 1898 Roosevelt, LI, N.Y., USA. d.
Instruments: Trombone, and some violin
né: Irving Milfred Mole
Here's a photograph of a young Miff Mole, who as a child first studied Violin for several years, and then studied trombone. In 1914, when he was just 16 years old, he had his first job playing trombone in a Brooklyn theater orchestra for the silent films, during the late day and evening hours. He worked with his father during the day as a house painter.

After some more private lessons, he formed a band called the 'Original Memphis Five' with Jimmy Lytell and Frank Signorelli; et al. He then joined the Sam Lanin Orch. as trombonist.

In 1919 be was playing at Roseland, but continued recording with his Original Memphis Five group using a great many different names (Cotton Pickers; Tennessee Tooters; Original Tampa 5, etc). Now the group consisted of Phil Napoleon; Frankie Trumbauer; Arthur Schutt; Red Nichols; Vic Berton,; R. Bloom, et al.

In the Mid-'20's he joined 'Red Nichols and his 5 Pennies' (a band organized from within the Don Voohees Orch. by Nichols and Berton). This band also recorded under 30 or more different names (Charleston Chasers; Red and Miff's Stompers, and his own name); cutting maybe a 100 sides or more.

Miff later worked with such bands as Ray Miller, Ross Gorman, R.W.Kahn, then worked on the staff of New York Radio station WOR with Voorhees.

He worked for about 10 years at NBC, playing mostly classical music.
1938 With Paul Whiteman Orch.
1942-43 With Benny Goodman Orch.
Following Goodman, Miff then again led his own Dixieland combo at Nick's for 4 years (in New York's Greenwich Village district). One year's free-lancing was followed by a trip to Chicago with trumpeter Muggsy Spanier.

In 1948, he settled in Chicago and played with small groups at such clubs as the Blue Note, Jazz Ltd, and the Bee Hive. During the late 50's, Miff was back in NYC playing many Dixieland sessions, but by 1959 was ill, on crutches after several operations, and then became inactive in music.

   [ Vaughn Monroe Orch ]
b: 1912, Ohio, USA; d. May 21, 1973, Stuart, FL, USA.
Theme song: "Racing With The Moon" (Bluebird 11070, rec. 1941)
Overview
Trumpeter. Band started in Boston, MA, USA. Vaughn Monroe wanted to be an Opera Singer, but the derpession years turned him first into a trumpet player, and then into a singing bandleader, where he had his greatest fame. Vaughn's voice was one of the most distinctive voices of the '40's. He was variously referred to as "the voice with hairs on it's chest"; "old Leather tonsils" and the "voice with muscles". Today, Vaughn is remembered for his singing and not for his so-so band. His band also featured a comedic vocalist named Ziggy Talent. He retired to Florida in the late 1960's.

Born in Ohio, his family moved to Wisconsin where he won a state-wide trumpet contest. Vaughn's first professional job was with 'Gibby Lockhard's Jazz Orchestra'. He studied voice at Carnegie Tech's School Of Music but left to work for 'Austin Wylie's Orchestra'. Later worked for "Larry Funk and His Band of a Thousand Melodies". He appears as vocalist on a number of Funk's Melotone-Romeo recordings. When Funk's band broke up he joined the "Jack Marshand Orchestra" (located in Boston, MA). He made one recording with Marshand, "In The Still Of The Night" backed with George Gershwin's "'S Wonderful" (Brunswick 8417).

Monroe formed his first band in 1940 with an engagement at 'Seller's Ten Acres' in Boston. He was signed by agent Willard Alexander who got him a recording contract at RCA Victor and a job headlining at the Glen Island Casino, near New York City. They toured throughout the country and were voted the most popular college band by Billboard Magazine. Vaughn was host of the 'Camel Caravan' radio shows for many years. In 1946, Monroe bought and ran 'The Meadows' in Framingham, Massachusetts; his own dining and dancing restaurant. During the last years of his life he was the official spokesman of RCA Victor doing commercials for RCA televisions, radios and phongraphs.

Besides Brunswick, Monroe also recorded for RCA Victor and their lower priced Bluebird label (1940-1959). Monroe was vocalist on most of his records; others included Marilyn Duke, Ziggy Talent, the 4 Lee Sisters, the Norton Sisters (Betty appeared as solo vocal on a few records), the Mood Maids and Rosemary Calvin. Among his sidemen were Bobby Nichols (t), Warren Covington and Urbie Green (tb) and John Pizzarelli (guitar)

Though not credited on any recordings George Paxton did some arrangements for Monroe. Monroe's Movie credits include "Carnegie Hall", "Singin' Guns" and "Toughest Man In Arizona", the last two being westerns. Sidenote: His wife's name was "Marion" Monroe, - né: Marion Baughman.
The above notes on Vaughn Monroe were kindly submitted by Mr. Robin Lenhart.

MONROE HAD A HOBBY:
To keep his mind and rich baritone voice sharp for performances with his band, Monroe relaxed by tinkering with model trains. In the late 40's it was necessary to build just about everything in scale model railroading. And, Vaughn was an enthusiastic builder of HO gauge steam engines.

According to the November 1948 issue of Model Railroader, Vaughn spent his time between shows in his dressing room putting together scale models. He even had a complete dealer repair kit purchased from one locomotive manufacturer so he could have all the parts and tools needed without having to find the hobby shop in whatever town he was playing. His wife apparently endorsed the crooner's hobby. She gave him a $100 dollar locomotive kit, according to the article. That was a pretty hefty sum back in 1948.

Vaughn was also told Model Railroader he was building a complete model railroad layout in the basement of his home in Boston. In the late 60's, he and the band traveled to Norfolk, Virginia. He told James Ramsey, a local model railroad enthusiast, about his home layout. He offered to send Ramsey some pictures, but apparently the demands of traveling and performing caused him to forget. The photos never reached Ramsey's mailbox.

Vaughn told Model Railroader, "Wish I could carry a small layout with me. We travel by air so much to meet engagements that I'd have to leave some of the instruments behind to get one in the plane. Guess that's out."

The Model Railroader writers surprised Vaughn in his dressing room, backstage between shows at one of his many "one night stands" during this peak period of his career. The man they describe fits perfectly with the deduction at the end of the liner notes for the CD "The Very Best of Vaughn Monroe" that by all accounts Monroe was a self-depreciating, modest and agreeable man.
The BigBands Database thanks Mr. Carl Ramsey for these additional notes on Vaughn Monroe's hobby.

   [ Hugo Montenegro Orch. ]
b. 1925, New York, NY, USA.
Overview
This composer; arranger; and conductor for films, grew up in New York City. During WW2, he served 2 years in the US Naval Reserve where he arranged for various service bands. After completing his service duty, he returned to complete his degree at Manhattan College, entering the Recording Industry in 1955.

He was able to obtain a position as staff manager for famed conductor Andre Kostelanetz. He also did some conducting-arranging for several artists, including Harry Belafonte, as well as making some of his own albums.

In 1967, Hollywood called, and he moved to California, where he scored Otto Preminger's 1967 pix 'Hurry Sundown'. In 1968, he recorded, - with orchestra and chorus, Ennio Morricone's theme from the Italian motion picture 'The Good, The Bad And The Ugly'. It was to become the number 2 hit on US Charts, selling over 1 million copies. For this recording, Montenegro used Arthur Smith on Ocarina. Among the other unusual instruments used were the Electric Harmonica, the Electric Violin, and the Piccolo Trumpet, all aided by a vocal group that included Muzzy Marcellino whistling and grunting.

Montenegro continued to provide music for Hollywood throughout the 1960's and 1970's.

   [ Art Mooney Orch ]
Here's a photo of Art Mooney, and another Publicity Photo of Art who had a fairly good band during the 1940's that featured Fran Warren, as the "girl" singer. But his band was never a big success until his hit song "I'm Looking Over a Four Leaf Clover (that I over-looked before)", in the early 1950's. I think that Four Leaf Clover was his ONLY hit recording. Art started his orchestra in the mid 1930's.

   [ The Buddy Moreno Orch. ]
Born in California, Moreno's career began as singer in a trio based in San Francisco (1929). Worked as guitarist-vocalist for Griff Williams' Orchestra, a society band, from 1933 to 1940 when he left to work for Dick Jurgens. When Jurgens disbanded (he had joined the Marines) Moreno was offered the job of replacing Perry Como with the Ted Weems band, an offer that fell through when the Weems band was inducted into the Merchant Marine. Buddy joined the Harry James band in March 1943 and left for military service in March 1944.

He started his own band in November 1947, broadcasting from the Casa Loma Ballroom in St. Louis. His girl vocalist was Perri Mitchell, whom he later married.

The band had it's own TV show in California (early 1950's) and when it broke up Moreno found a job working as a disc jockey on Memphis radio partnered with Ted Weems. This lasted for a year and afterwards Buddy returned to St. Louis where he hosted a musical variety show on KMOX-TV. The show featured a nine-piece orchestra which Buddy fronted. After the show was cancelled, he organized a sweet band based at the Chase Hotel in St. Louis.

When that ballroom closed, Moreno returned to radio where he worked as a DJ into the 1980's. The band recorded a series of radio transcriptions in 1947 and 1949.
The BigBands Database thanks Robin Lenhart for the above information on the Buddy Moreno Orch.

   [ Sam Morgan Jazz Band ]
Pictured here, (photograph from the Hogan Jazz Archive, Tulane University) the Sam Morgan Jazz Band, was one of only about six New Orleans Jazz Band to record during the 1920's. The photo shows (from left to right) Nolan Williams, Isaiah Morgan, Jim Robinson, Sam Morgan, Earl Fouche, Sidney Brown, Andrew Morgan, and Johnny Dave. The Morgan band was another New Orleans group which worked on the steamboat 'Capitol', usually alternating with one of Fate Marable's, bands. Isaiah Morgan tells the story of a competition occurring on one such excursion in which Marable was so angered by the audience's enthusiasm for the Morgan band that he disconnected the amplifying device which the band was using. "The Streckfus people wondered why the band was not playing (or being heard), so I discovered Marable's trick, turned the amplifier on, and the day was won." The Morgan band, like Marable's, was known for its consistent dance tempo, which may have accounted for its popularity on the riverboats. However, by the latter 1920's, Marable's bands (co-led by St. Louis cornetist Dewey Jackson) were made up primarily of non-New Orleans musicians, so the Sam Morgan Jazz Band also had the advantage of being the home-town favorite.

   [ Russ Morgan Orch. ]
April 29, 1904, Scranton, PA, USA. d: Aug. 8, 1969, Las Vegas, NV, USA.
Tag: "Music in the Morgan Manner"
Theme Song: "Does Your Heart Beat for Me"
As a young man, Russ learned to play piano, vibes, sax, slide-trombone. Russ was another of those bandleaders who had the happy facility of being able to write songs that the public enjoyed hearing. (other such leaders included Ray Noble and Victor Young) Among his hits are: "You're Nobody 'til Somebody Loves You"; "Does Your Heart Beat for Me"; "So Tired"; and "Somebody Else is Taking My Place".

Russ's musical background is impeccable. Before he was 21 years of age, he already knew Victor Herbert and John Phillip Sousa -"The March King", and did some musical arranging for both of them. In time, he was to become an arranger/trombonist for the Jean Goldkette orch. He held a chair with the Detroit Symphony Orchestra.

With his interests turning commercial, Russ took on the job of recording director of the Brunswick Record Company. He went on to become what is today called a "studio musician". That is, he worked in recording studios and radio stations. He was a staff conductor for NBC and he was the musical director for the Lifebouy and Phillip Morris Radio Shows.

Probably, Russ got some of his earliest big band experience with the Jean Goldkette Orch. but, he also played with the Paul Specht orch in the mid 30's. (Some good men played with Paul, including Artie Shaw and Charlie Spivak.) Freddie Martin and Russ had played together in earlier days.

In 1935, after Russ had recuperated from a bad automobile accident, he asked Freddie for a job. Freddie was a long time friend, and hired Russ as a piano player. The Martin band was playing the Hotel Roosevelt in New York City at the time. It was while Russ was playing with Freddie Martin's band that he developed his "wah-wah" style of trombone playing.

Russ formed his own orch when he did a recording date that Freddie Martin turned down. Here's a photo of the sheetmusic cover for the song "If We Never Meet Again", (composer: Horace Gerlach and Louis Armstrong), with a photo of Russ. The cover is inscribed "To Katherine, Sincerely Russ Morgan". ( The Katherine referred to is really Kathryn Grosso, and the BigBands Database Plus thanks Mr Edw. Grosso, Kathryn's son, for permission to reproduce this sheetmusic.) Here is a close up of Russ Morgan's photo that appears on the cover. Parenthetically, we might mention that 'Satchmo" Armstrong in all probability had nothing to do with the writing of the song. Back then, if a bandleader promised to promote a song at all his concerts and appearances, it was common practice for the actual composer to put the bandleader's name on the song as co-composer. That way, the bandleader could share in the profits generated by the songs popularity.

Freddie Martin used the "tag" of "Music in the Martin Manner". After Russ left the Martin band and got booked into the Biltmore Hotel with his first band (1936), he actually used some of the Freddie Martin Orchestra arrangements, and later even 'adopted' the 'tag' of "Music in the Morgan Manner". Freddie Martin, who by all accounts was considered one of the nicer leaders in the business, apparently never objected to all this. Some decent musicians played with Russ, including Flip Phillips on tenor sax, and, briefly, Claude Thornhill on piano.

Russ's band continued even after the big band era closed. (He had some great hits in 1948 such as Sunflower, Forever and Ever, and Cruisin' Down the River. Russ's two sons, Jack (T'bone) and David (Guitar) joined the orchestra in the early 50's, and Jack took over as leader when Russ died on August 8, 1969, in Las Vegas, NV. (For more information on Booking this great band, click here on this Jack Morgan -prompt.

   [ Esy Morales and his Latin Rhythms Orch. ]
b: ca. 1917, Puerto Rico, d: Nov. 2, 1950, New York, NY, USA. (heart attack)
Instruments: flutist, bandleader and composer
Esy Morales, was the brother of Noro Morales, who was also a very well known and respected musician. Esy, while not too well remembered today, was quite a popular flutist and bandleader. A young "Doc" Severinsen was one of the trumpet players in Esy's orchestra. Esy was in one 1949 Hollywood film, where he played an Orchestra Leader in 'Criss Cross', starring Burt Lancaster, Yvonne de Carlo, Dan Duryea, and Tony Curtis. 'Esy Morales and his Rhumba Band' recorded the film's theme song of the same name. Before forming his own band, Esy had worked with Xavier Cugat's early band which included many top Latin musical talents. Another flutist, Herbie Mann, has said that while growing up in New York city, he was greatly influenced by Esy's flute style.

   [ Noro Morales Orch. ]
b: Jan. 4, 1911, San Juan, Puerto Rico. d: Jan. 12 1964, San Juan, Puerto Rico.
Noro Morales, played briefly with the Augusto Coen and Alberto Socarras bands before he and his brothers, (Humberto, and Esy) establishing the Morales Brothers Orchestra in 1939. All through the 1940s. his and Machito's band was the most popular in NYC
Also please also see our Latin Bands entry.

   [ Carlos Molina Orch. ]
b. March 4, 1899, d. February 4, 1982, Studio City, California, USA.
Currently no information available.
   "Dime" ("Tell Me"):, (430 kb): The Carlos Molina Orchestra.. Rec'd: 1934 (Brunswick 4058)