[ Tommy Reed Orch. ]
Saxophone and Clarinet.
Theme Song, "Two Clouds In The Sky"
Tommy got his big band training working as a sideman in the orchestras of Jimmy Dorsey; Joe Venuti; Del Courtney; Henry King; Richard Himber; Ernie Hecksher; Dick Jurgens, Ran Wilde, and Russ Morgan.

1946 was the year that Tommy formed a 13 piece band, in San Francisco, California. The band started touring almost immediately, finally reaching New York City where they played the Lexington Hotel. The men were well drilled and played some solid dancing arrangements. Following his New York engagement, Tommy continued touring the mid-west, where his band built a huge following. The orchestra was often heard in such Hotel rooms as The Roosevelt Hotel in New Orleans; St. Louis' Chase Hotel; Memphis' Peabody Hotel, and The Oh Henry Ballroom in St. Louis. During the years of 1954 through 1959, the band enjoyed a five year stay at at Kansas City's famous Muehlebach Hotel.

His vocalist was the talented and attractive Sue Mouro. Sue often sang songs that Tommy had written, including "After All"; "Fishin' For Love"; and "Two Heavens". She can be heard on some of the records that Tommy cut for Camelback and MGM Records.

For a number of reasons, in the late 1940's and early 1950's, the band business was in decline, and Tommy reduced the size of the orchestra. Unlike many others, his orchestra continued playing the mid-continent hotels, until finally, in 1961, Tommy disbanded and took up permanent residence in Phoenix, Arizona. He formed his own talent agency, called Southwest Booking Agency, Inc., which became highly successful. He would even book his own Octet occasionally. Incidentally, his partner in the agency was another bandleader/composer, Al Trace, who had retired to Scottsdale, AZ in 1975.

      [ Joe Reichman Orch.]
InTheme: "Paliacci Variations In G", (aircheck); (Victor 27393)
OutTheme: "Little Thoughts"; Victor 27975
Overview
Pianist Joe Reichman's band operated in the 1930's. Mostly played the 'hotel rooms'.
Joe Reichman affectionately known by his contemporaries as the "old piano pounder" recorded 80 sides for ARC & RCA Victor, between June 1934 and February 1942.

The ARC sides contained vocals by: Joe Sudy, Mildred Monson, Chris Fletcher, Chick Bullock, Joe Martin and Paul Small.

The Victor sides had vocals by: Marion Shaw, Janette, Larry Neill, Gene Schill, Jane Fulton, Chester Leroy and Siggy Lane
1941 Band Personnel
===================
     trumpet: Chuck Grifford, Bert LaMar
     trombone: Art Lewis
     saxes: Clem Zuzenak, James Williamson,Ed Mihas, Fred Fellensby
     guitar: Ed Gregory
     bass: Jim Bishop
     piano: Joe Reichman
     drums: Carroll Consitt
The above notes on Joe Reichman by James Zerr.

      [ Harry Reser and his Clicquot Club Eskimos ]
b. Jan. 17, 1896, Piqua (Dayton area), OH, USA, d. Sept. 27, 1965, New York, NY, USA
Instrument: Banjo
Here's the original sheet music Front Cover for the tune Clicquot - a Foxtrot, and here's a photograph of Harry Reser, (in front) and a few of his "Eskimo" friends. Here's another photo of Harry and Nellie Revell. Nellie was a well known commentator on NBC radio during the 1930s. She was also a publicist and managed several entertainment acts. As a very young man, Reser played banjo in various bands in Ohio (his home state) and in the midwest. In 1920, he was living and working in Buffalo, NY. But, in 1921, Gus Haenschen, musical director for Brunswick Recording Company - recognizing his talent - brought him to New York City where he recorded for for that company, and also became a popular 'sessons' man with other bands and recording companies. (Gus Haenschen's history is quite fascinating. You can read all about it here in our Carl Fenton, listing in the 'American Bands Database'.) The December 1924 issue of 'Dominant Orchestra Monthly' (Page 67) credits Walter Haenschen for making "banjoist Harry Reser, of Dayton, Ohio", a recording artist: "His marvelous ability on the family of plectrum instruments attracted the attention of Mr. Gus Henschen [sic], recording manager of the Brunswick Phonograph Company, and Mr. Henschen brought Mr. Reser east to record for this company." Here's a photograph of the Harry Reser Orch., Harry in the center holding his Banjo.

In 1922, Brunswick released a number of recordings of Reser playing solo banjo. All through the 1920s, Harry Reser's Jazz Pilots (and other names) were very popular and cut many records. Here's a couple of sound files of the Jazz Pilots playing their versions of The Monkey Doodle Oooo, (The tune was written for the Marx Brothers film 'The Cocoanuts'. I think it was composed by Kalmar and Ruby), and I've Never Seen A Straight Banana, (words and music: Edward Platt) both songs with Tom Stacks (their drummer) doing the vocalizing. ("Banana is from an Okeh Electric record number 40771, and both tunes were digitally re-engineered by Mr. Verne Buland.) The typical make up of the Jazz Pilots would include 3 or 4 banjos plus drums; a Brass Bass; Sax and Cornet. Personnel changed from time time, as did the group's instrumental makeup.

Up to then, Reser simply had one of the so called "studio" orchestras; -bands that just worked in the radio stations and recording studios for a sponsor, or to back up a singer. (Some other 'studio' orchestras of the era tht won some fame on Radio Shows include; Harry Horlick and his A&P Gypsies; and Sam Lanin & his Ipana Troubadors.)

But Reser's big break came in 1925 when he found a sponsor in the form of the 'Clicquot Club' brand of soda-pop beverages, for their half hour NBC Radio Show. The band achieved national fame while broadcasting as "Harry Reser's Clicquot Club Eskimos". A group from within the "Eskimos" was also quite popular. The band's drummer - diminutive Tom Stacks (they say he weighed 100 pounds 'soaking wet'), often recorded with some of the "Eskimos" under the name of "Tom Stacks and His Jumping Jacks". Stacks handled most of the vocalizing for both bands - the Eskimos and the Jumping Jacks. Happily, Harry's music sold quite a lot of Clicquot Club Soda, and the brand kept his orchestra on the air until 1935.

There is still another interesting facet to Harry's career. All during the 1920s and 1930s, Harry recorded under a multitude of different band names. At the time, many other orchestras were also heard under differing names. This was usually to circumvent 'exclusivity' clauses in recording contracts (but there were other reasons as well). But Harry may have used more names than any other band (perhaps due to Gus Haenschen's/Carl Fenton's influence.) Here's one not shown on the list below. It's Harry Reser and a few of the Flit Killers, -thats Harry seated on the left, others are unidentified. They were heard on a popular radio program sponsored by a 'Bug Killer' with the "Flit" brand name. Here is a list of 51 band names that Reser used (that may still be missing a few):

      

Blue Jays, The	Harry Reser Trio
Blue Kittens, The	Harry F. Reser's Novelty Trio
Bluebirds, The	Harry Reser's Banjo Boys
Bostonians, The	Harry Reser's String Orchestra
Campus Boys, The	Harry Reser's Syncopators
Casino Dance Orchestra	Rio Trio
Century Serenaders, The	Rounders, The
Clicquot Club Eskimos, The	Roving Romeos, The
Club Royal Orchestra	Royale Trio, The
The Four Minstrels, The	Seven Little Polar Bears, The
Frank Harrison's Banjo Orch.	Seven Rag Pickers
Phil Hughes and His High Hatters	Seven Wild Men
Jazz Pilots, The	Six Hayseeds, The
Jimmy Johnston's Rebels	Six Jumping Jacks
Midnight Ramblers	Tom Stacks and The Jumping Jacks
Monarch Orchestra	Tom Stacks and his Minute Men
Night Club Orchestra	Ten Freshmen, The
Okeh Syncopators	Tickle Toe Ten, The
Earl Oliver's Jazz Babies	Tuxedo Orchestra, The
Park Lane Orchestra	University Boys, The
Parlophone Syncopators	Varsity Four, The
Plantation Players, The	Victorian Syncopators, The
The Red Hotters, The	Volunteer Firemen, The
Harry Reser and His Eskimos	Bill Wirges and his Orchestra
Harry Reser's Cliquot Club Eskimos	Goodrich Zippers
Harry Reser and His Orchestra

Reser continued to be quite musically active for the rest of his life, - touring, leading television studio orchestras, playing in Broadway orchestras, recording, and writing several popular banjo, guitar,and ukulele instruction books. He died of a heart attack in 1965 while tuning up in the orchestra pit before a performance of "Fiddler On The Roof"

      [ Don Reid Orch. ]
b: April 24, 1906, Emlenton, PA, USA, d: April 13, 2001, Georgetown, TX, USA. (age: 95)
né: John Donald Shoup. (Don Reid was selected as a stage name by Gracie Allen and George Burns by opening the phone book and pointing to a name.)
Reid graduated from Allegheny College in Pennsylvania. He had previously studied the Banjo, but while in school switched over to the Trombone. For the next 10 years after graduation, he was the First trombonist and arranger/concertmaster for the Jan Garber orchestra. He eventually left Garber and formed his own Don Reid Orchestra, ca. 1944. In this photo, pianist "Chuck" Loufek is at the far left, while in the back row are (L -R) Ed. Schneider, drummer unknown, Fred Sherwood, Stan Dlask, Charles Claycomb, and Chris "Moe" Mischoff. In the Front row (L-R) are vocalists Bob Howard and Gwen Parke, Don Reid, 'Chuck' Masry, Art Compratt, Floyd Waltz, and Don Bennett.

Here's another photo of the band with different personnel, taken while they were playing at the "Blue Moon Ballroom" in Wichita, KS. On the far left is pianist Ellarose Wright, and in the back row (L-R) are "Bob"(tuba), Phil Reed (drums), Stan Dlask (trombone), Charles Claycomb (trumpet), and Chris Mischoff on trumpet. The front row has (L-R) vocalist Gwen Parke (seater) Don Reid, unknown sax (possibly: Milbresh Warica), Arthur R. Compratt, Richard Harris, and Barney Rhoades. And, here's a photo of the band taken with their guest "Little Johnny". 'Little Johnny' was an immensely popular advertising personality for the 'Philip Morris Cigarettes' brand. He would appear on radio programs in his hotel BellBoy uniform, and page a imaginary hotel guest, "Call for Philip Morris". (Johnny was greatly responsible for making Philip Morris the world's largest cigarette manufacturer).

It is believed that Reid's 1945 band had:
     Trombones: Stan Dlask, Fred Sherwood, Don Reid (leader)
     Trumpet: Chris "Moe" Mischoff; Charlie Claycomb
     Rhythm: Chuck Loufek-piano, Phil Reed-drums, Ed Schneider-tuba
     Saxes: Chuck Moony, Art Compratt, Floyd Waltz, Don Bennett
     Arrangements: Don Reid

Don was a triple threat man; trombonist, arranger and leader. As a young man, he had worked with Dick Powell, - a college classmate. In his biography, Don said that he had been influenced by both Gracie Allen and Tony Martin to start his own band, primarily because of his musical arrangements while working on the Burns and Allen radio show.

While his bands did have some national fame, his territory was primarily the central spine of the USA - from Chicago down to New Orleans. The band often played such well known venues as the Trianon and Aragon Ballrooms in Chicago, The Muehlbach and Merrill in Kansas City, Denver's Rainbow Ballroom and Turnpike Casino, the Blue Room in the Roosevelt Hotel in New Orleans several times (think it is now the Fairmont. Played some great floor shows there), and the Peabody "Skyway" Ballroom, and the Claridge Hotel in Memphis. (It was while playing at the Peabody, that Don sent for vocalist Gwen Parke, then working in Nashville, TN, to join the band. A year later, they were to be married.)

Mr. Charles Claycomb, trumpeter with the band, has recalled that in addition to the popular Hotels and Ballrooms, the band also played quite a few parks Peony Park in Omaha, Forest Park in St. Louis, Lake Okoboji (near Spencer, Iowa) and Lake Delavan in Wisconsin (plus many others).

Basically the band played in a 'sweet' style exhibiting the fundamentals of good dance music, such as proper tempo and simple, beautiful arrangements that the average ear could understand. Virgil Meyers, the veteran Trianon Ballroom (Chicago) manager called the band "one of the best fundamental music crews I've heard in a long time." Still, his 1947 band did have some fine "two beat" Dixieland arrangements.

Reid broke up one band in 1946 (after New Year's Eve) and spent the next three months in California writing arrangements both for his old boss, Jan Garber, and for Art Kassell. In the Spring of 1947, he re-formed the orchestra (with Charlie Clay-trumpet, and Art Compratt on alto as the only two former sidemen surviving from his '46 band). The Sept 1947 band had:
     Trumpets: Charles Clay, and Chris "Moe" Mischoff
     Trombone: Stanley Dlask (and Leader Don Reid)
     Saxes: Art Compratt -Alto; Don Bennett; Floyd Waltz
     Rhythm: Chas. Loufek on piano; Ed Schneider on bass; Don Sheldon on drums
     Vocalists: Gwen Parke and Bill Howard
     Leader: Don Reid (arranger/trombone)

In 1947, he married his vocalist Gwen Parke, a vivacious little brunette who had at one time been singing with the Owen Elkins' Orchestra at the 'Silver Slipper' (Memphis). One critic (Billboard) called Gwen "a combination of Betty Hutton, Peggy Lee and even a little bit of Helen Forrest". (Gwen was reared in Memphis, attended the Riverside School and St. Agnes Academy, and had been a drum majorette at the Bartlett High School. Her family then moved to Nashville, TN., where Gwen did some specialty solo acts. They were married at the home of her uncle and aunt: Mr and Mrs James E. Lewis, 327 Burdock St, Memphis, TN.) Six foot Three inch Bill Howard was the "boy" singer, whom one critic described as "deadpan Bill Howard, ex Teddy Phillips throater, who does extremely well when it comes to listening but fails to arrest the eye with even a good smile". The band also had a vocal quartet composed of Gwen Parke, Clay, Compratt, and leader Don Reid.

The band was represented by the Frederick Brothers Artists Corp. of Hollywood, Chicago, and New York. Lang Thompson, a former bandleader himself, was with the agency and in charge of bookings for Reid's orchestra.
Thanks to Mr Doug Booth who helped in preparing the Don Reid entry, and also thanks to Mr. Charles Claycomb, trumpet player with the band, for sharing his wonderful memories and photographs.

      [ Leo Reisman Orch. ]
b. 1897, Boston MA, USA. d. Dec. 18, 1961
Violin/bandleader
Theme Song: "What is This Thing Called Love"
Overview
Leo was a truly fine violinist and pianist. Reisman began his study of the violin at age 10, and two years later, at just age 12, he was playing in Boston's 'Bijou Dream Theater' as well as demonstrating music to prospective customers in various music shops. (In those days, a pianist would audition the music before the customer bought it.) He won a scholarship to the New England Conservatory of Music, and subsequently became First Violinist with the Baltimore Symphony. Composer Jerome Kern called Reisman's orchestra "the String Quartet of Dance Bands".

He deserted Classical music to start his own dance music orchestra, that played in hotels and toured the Keith Vaudeville circuit. The band was mostly tuned to playing good dance arrangments and show tunes for the 'high society' crowd. In 1919, and for the next 10 years, the band was resident in the Egyptian Room of Boston's Hotel Brunswick. Here's a photograph of the 1919 Reisman Orch. at the Hotel Brunswick. And, for comparison, here's a photograph of the 1940s Reisman Orch.. It is interesting to note Reisman playing his violin in the early version, and playing the piano in the later photo.

Listen now to this small album of songs recorded by Leo Reisman and His Orchestra

  "The Continental": (488 kb):   Interesting because the vocalist is bandleader Leo Reisman

  "In The Shade of the New Apple Tree": (585 kb):    Interesting because the singer is Harold Arlen, who would go on to become one of the era's best composers.

  "The Touch Of Your Hand": (484 kb): Resiman's Orch., with Bernice Claire singing.   Interesting because it displays Reisman's "Tea Dansant" style of music.

  "For My Baby", (574 kb):   Leo Reisman and His Orchestra, with trio vocal in 1927.
NOTE: All these tunes were graciously supplied my Mr. Leonard Schwartz, and have been digitally re-engineered.

In 1928, Leo hired the 2-piano team of Eddy Duchin, Eddy Duchin and Nat Brandwynne. Both of whom went on to front their own orchestras. In 1929, when he left the Brunswick, he next played in New York's Central Park Casino (where his twin pianists of Brandwynne and Duchin were so popular), after which he was resident for a lengthy stay at New York's prestigious Waldorf-Astoria Hotel, and was on the air for the Philip Morris Cigarettes radio program.

In 1932, Lee Wiley, Fred Astaire and Harold Arlen were the band's vocalists. (Lee and Leo were quite friendly, Harold Arlen went on to become of of the world's great composers and Fred Astaire, - well he would go on to do "a little dancing in Hollywood"). Trumpeter Max Kaminsky was with Leo during this period. Another trumpeter, Bubba Miley, who was to go on to fame with the Duke Ellington band was also with Leo, as was Johnny Dunn. In 1937, the Leo Reisman orchestra traveled to Paris, France, for the International Exposition. In 1939, Dinah Shore sang with the band during their booking in the Strand Theatre in New York City.

Leo continued leading very successful orchestras into the 1940's. By 1941, the band's "sound" and arrangements were no longer in style. The 'swinging' big bands were riding high and 'tea dansant' orchestras fell by the wayside. (More's the pity!)

      [ Jacques Renard Orch ]
b: Kiev, Russia, d: Jan. 30, 1973, Miami, FL, USA.
né: Jacob Stavinsky
Born in Kiev, Russia, Jacques Renard was raised in Chelsea, a town just outside of Boston, MA. His father wanted him to be a violinist, and as a child prodigy, Jacques seemed to be on the way-- even the director of the Boston Symphony Orchestra told him he had a great future. Unfortunately, there was not much money in playing classical violin. A friend of his, Meyer Davis, who managed a dance orchestra, began encouraging him to consider changing his musical direction. Dance music was increasing in popularity, and there was a demand for more dance bands. Renard finally agreed, and it turned out to be a very lucrative decision.

By the late 1920s, he and his orchestra were performing on a number of Boston-area radio stations, most often WLOE and WNAC. In 1927, Renard was resident at one of Boston's most popular nightclubs, the Cocoanut Grove. Listen now to this 1927 recording of "Jacques Renard and His Cocoanut Grove Orchestra" playing "You Went Away Too Far And Stayed Away Too Long", (733 kb), with Johnny Marvin, vocal and ukulele (Rec'd: 1927: Victor 20487-A) An interesting sidenote: On November 28, 1942, 'The Cocoanut Grove' (a top Boston nightclub owned by Barney Welansky, who openly boasted of his ties to the Mafia and the Boston Mayor's Office) became the scene of America's most deadly nightclub fires. Although the legal capacity was 460, that night over 1000 people were in the club. A fire began in the club's basement, and 492 people lost their lives in the stampede to get out. You might also wish to hear the tune on the "B" side of the record, with the orchestra playing the instrumental "Lonely", (770 kb).

By the early 1930s, the radio networks beckoned. During 1931-2, on a number of occasions, he and his band appeared on the Camel Quarter Hour (with vocalists Morton Downey and Tony Wons). During 1931-4, he appeared on orchestra leader Abe Lyman's radio show. (Among the musicians who worked for Renard during this time was an up-and-coming young man named Glenn Miller.) During 1935-6 season, he appeared on the Burns & Allen show. During 1936-8, he worked on Eddie Cantor's show, and for the 1939-'40 season with another comedian, Joe Penner ("..wanna buy a duck"). Renard also recorded for Brunswick, Columbia and Victor (on some Victor sides, he is listed as "Jacques Renard and his Cocoanut Grove Orchestra").

During the 1940s, Renard continued to work in New York, as the musical director for radio programs like CBS's "Take it or Leave It" and the Blue Network's "Let Yourself Go." A family tragedy brought him back to Boston in the 50s, when his son Philip died; he kept busy performing with his orchestra at local ballrooms until he retired and moved to Miami. Jacques Renard died on 30 January 1973.
The BigBands Database Plus thanks Ms. Donna Halper of Emerson College for the above entry on Jacques Renard.

      [ Henri Rene Orch. ]
b. Germany
Rene, a child of French and German parentage, was raised in Germany where he completed music studies at Berlin's prestigious Royal Academy of Music. While still living in Europe, he also quite naturally formed a love of that so typical French instrument - the Musette Accordion. In the mid-1920's, he emigrated to the U.S., yet after working with a number of different orchestras, he returned to Germany where he found a position as musical arranger with a Berlin record company. But in 1936, he once again emigrated to the U.S. - this time for good- and became the musical director for the international division of RCA Victor records. He spent some time in the Hollywood studios and then returned to New York City, where he had his own half-hour radio show - "The Musette Music Box", that featured the French Musette Accordion. His 1941 band (that played music in the continental style) was disbanded when Rene became a member of the U.S. Army. Paul enlisted and was assigned to the U.S. Army Special Services Division. After his discharge in 1945, he returned to RCA Victor again as a Music Director, remaining there until he retired. Rene produced a group of light pop classic singles, and backed up some vocalists, including Eartha Kitt on most that lady's early RCA LPs, and the very young Bell Sisters, Here's a photo of Rene and Bell Sisters. Cynther center, and Kay on the right. Later on, he produced the "Dynamic Dimensions," on of RCA's Stereo Action series. Rene retired from RCA in 1959, - afterwards working occasionally as an independent.
     Among his recordings are:
     Compulsion to Swing, RCA Victor LPM-1947
     Dynamic Dimensions, RCA Stereo Action LSA-2396
     In Love Again, Camden CAL-312
     Music for Bachelors, RCA Victor LPM-1046
     Music for the Weaker Sex, RCA Victor LPM-1583
     Paris Loves Lovers, Decca DL74269
     Passion in Paint, RCA Victor LPM-1022
     Riot in Rhythm, RCA Victor LMP-2002
     The Swinging 59, Imperial LP 9096
     They're Playing Our Song, Decca DL 74574
     White Heat, Imperial LP 9074

      [ Alvino Rey Orch ]
b. July 1, 1908, Oakland, CA, USA. d. Feb, 24, 2004, Salt Lake City, UT, CA, USA.
Demise due to pneumonia and congestiveheart failure. Age: 95.
né: Alvin McBurney
Themes:
Early On: "Blue Rey"--Transcription
Later On: "Nighty Night"---Bluebird B-11041, recorded Feb. 3, 1941
né: Alvin McBurney.
Here's a photograph of Alvino Rey, (with his interesting electric guitar), and another publicity photo of Alvino, whose real name was Al McBurney; a multi-talented musician. He started off in his native Cleveland as a jazz guitarist ("I met Eddie Lang there and always idolized him"). Rey was originally attracted to the Hawaiian sound, which he later learned to abhor, and eventually the electronic one, "after I heard Andy Sanella play."

In 1937 Horace Heidt had put together a Radio Show type band, which Rey joined. The Heidt band at that time also featured and recorded many sides with the King Sisters, doing vocals together, and individually.

Rey married Louise King, and in 1938 he left Heidt to form his own band, taking the King Sisters with him. They settled in California ( the Kings came from Utah, and Los Angeles was a lot closer than New York.)

Radio station KHJ asked Rey to form a studio band. Assured of work, Rey sent for Frank Devol, a former saxist and arranger with the Heidt band. ("Frank wrote a lot of good arrangements but Heidt never used them". ) He also suggested to his old friend Skeets Herfurt that he leave Tommy Dorsey, "Skeets was playing fourth tenor with Tommy, and when I told him he'd be playing lead alto with us, he came."

Rey recorded many sides for the Bluebird label, beginning Nov. 18, 1940 and continuing thru July 24, 1942

Rey employed many of the top arrangers in the business, in addition to Devol there were, Neal Hefti, Ray Conniff, Johnny Mandel and Billy May.

Band Personnel 1940
--------------------
     trumpet:   Frank Strasek, Paul Fredricks, Danny Vanelli
     trombone:  Jerry Ross, Wallace "Blue" Barron
     saxes:     Kermit Levinsky, Bill Shine, Skeets Herfurt, Jerry Sanfino
     piano:     Milt Raskin
     guitar:    Dick Morgan
     bass:      Gene Traxler
     drums:     Bunny Shawker

Rey continued to stay active in the music business touring College campus's in the 1980's with the King Sisters and former Claude Thornhill vocalist Fran Warren.

Asked how he feels about today's strange-sounding uses of an instrument he worked so hard to develop and popularize he said "I don't know what to say -my son, Robby, is a big jazz fan. He idolizes Charlie Mingus!"