[ Ben Selvin Orch ]
b: , d. July 15, 1980, Florida, USA.
"Ben Selvin, combined his unique musicianship with a great business-sense. His career would span two generations. At one point in his career, he was recording for nine different companies, under nine different names. And, according to Joseph Murrell, he recorded over nine thousand different selections. Bing Crosby was his nearest competitor with 2700 numbers recorded." *

Ben started his career in the early 1920s. He was actually a "musical contractor", - a band agent. He would supply orchestras for society dances; one night stands; recording studios and for special engagements. (There were many other leaders, such as Sam Lanin, Edgar Benson and Meyer Davis, etc., in the same business.)

In 1941 Ben was hired by James Caesar Petrillo, Head of the powerful Local 803 Musician's Union, to conduct a survey of the Recording industry and how it affected musicians. He reported that the industry was lucrative for the big bands and should be left alone. Petrillo did not follow his advice, and struck the industry anyway, and after a two year strike, won concessions from the recording industry. The big bands never recovered from this devastating strike.

At one time or another, Ben was the head man at RCA Victor Records and at Majestic Records. He did a great deal of radio/studio conducting and acted as a consultant to many different corporations in the music field. He was a leading figure in the development of "Transcriptions". His company, Associated Transcriptions, 'spun-off' their MuZak division, which later came back to absorb their parent -Associated. (The "transcription concept was probably started by Gus Haenschen.) Ben was also an avid Real Estate investor.

The very first Ben Selvin recording this writer ever heard was Selvin recording under the name of "The Bar Harbor Society Orchestra." I was enchanted by the sound. Incidentally, Selvin used that same (BHSO) band name on his recordings for the Gray Gull, Vocalion, Harmony and Columbia labels (he also used the name "Newport Society Orchestra"), - all in the late 1920s to early 1930s.

Listen now to the "Bar Harbor Society Orchestra playing "You Need Someone To Love". Rec'd: April 16, 1926, Domino label. (Composers: George Olsen, Eddie Kilfeather and Fran Frey, two members (piano and alto sax/vocals respectively) of the Olsen orchestra - then under contract to RCA Victor.
* (quoted from) "Golden Disks", Joseph Murrell, Publ. London Daily Mail.

[ Boyd Senter and His Senterpedes ]
b. Nov. 30, 1898/9, (on a farm) Nebraska, USA. d. June 1982, Oscoda, MI, USA.
clarinet/alto & tenor sax/trumpet/vocals,
Tagged as: "The Jazzologist Supreme".
As a youth, he was inspired to become a musician after hearing the 'Original Dixieland Jazz Band', and eventually learned to play many instruments including the saxophones, trumpet, piano, and banjo. He was heard on some of the very first 'electrical recordings' - on Orlando B. Marsh's Autograph label, with issues on the Pathe, Perfect, and Paramount labels. Very rarely recalled now, but in 1921, after graduating form Fort Morgan (CO, USA) Hish School, a very young Glenn Miller played trombone in Senter's band. Here's a photo of Senter's early band, with a young Glenn Miller on the far right, holding his trombone. (Photo courtesy Univ. Colorado Library.)

In 1927, his trio, including Eddie Lang on guitar, and pianist Jack Russell, were recorded by the Okeh label. In 1928, he again recorded for Okeh as a bandleader "Boyd Senter and his Senterpedes", which was actually the 'Dorsey Brothers Orchestra", aug mented. In 1930, Boyd took his Senterpedes to the Victor label. Eventually, Boyd left the music business, settled in Mio, Michigan, and established his own "Hardware" store selling such items as fishing tackle, saw blades, grits and polishes, and drills.

[ Doc Severinsen Orch. ]
b. July 7, 1927, Arlington, Oregon, USA.
né: Carl H. Severinsen
Doc Severinsen, one of the stars of Command Records, has a long string of pop recordings to his credit, but remains best known as the bandleader (and a comedic foil) on the Johnny Carson late night 'Tonight Show', where he appeared for over 25 years. After Carson retired, Doc continued to perform with various Jazz groups and also with community orchestras.

In 1945, Severinsen began his big band career touring with such bands as Charlie Barnet, Tommy Dorsey, Noro Morales, and others. In 1952. He became a member of the NBC TV musical staff, and was soon seen on the original Steve Allen-hosted Tonight Show, as a member of Skitch Henderson's band.

In the late 1960s, he became the band's leader. It was on this show, that Doc developed his trademark, -the wearing of outrageously colored and wildly styled polyester clothing. He toured regularly even while on the show. Doc is a good trumpet player with good mastery of the upper registers, but usually displays good taste and engages in far less grandstanding than other trumpeters.

Among his recordings are:
16 Great Performances, ABC 737
Big Band's Back in Town, Command RS 837 SD
Command Performances, Command RS 904 SD
Doc Severinsen's Closet, Command RS 950 SD

Fever!, Command RS 893 SD
High, Wide, and Wonderful, Command RS 883 SD
Live!, Command RS 901 SD
Swinging & Singing, Command RS 909 SD
Tempestuous Trumpet, Command RS 819 SD
The New Sound of Today's Big Band, Command RS 917 SD
The Great Arrival, Command RS 927 SD
Torch Songs for Trumpet, Command RS 859 SD

[ Terry Shand Orch ]
Presently no information available
Louanne Hogan was the 'girl' singer with Terry Shand. This flashy, swinging pianist played primarily in hotel rooms. He sang pretty well himself, along with Hogan who had one of those emotional low-pitched voices. One of the better hotel dance bands.

[ Artie Shaw Orch. ], Clarinet
b. May 23, 1910, New York, NY, USA, d. Dec. 30, 2004, Los Angeles, CA, USA. Age: 94.
né: Arthur Arshawsky.
Theme Song: "Nightmare"
Born in New York, Artie Shaw, was raised in Connecticut. He took up the alto-sax when he was 12, and just a few years later he was already playing in some local Connecticut bands. After leaving home at age 15 for a job in Kentucky, which never materialised, he had to work in traveling bands to get back home. At this time he is known to have worked with Don "Johnny" Cavallaro in Connecticut (New Haven) and Florida, following which he traveled to Cleveland, Ohio, where he worked in the Merle Jacobs and Joe Cantor bands.

In 1926, Artie switched to the clarinet, and spent the following three years in Cleveland working on and off as arranger/musical director for the Austin Wylie band. He also doubled on tenor sax and clarinet while playing with Irving Aaronson and the Commanders.

In 1929, while still in Chicago, IL, Artie heard, and was deeply affected by, the works of such avant garde composers as Bartok, Stravinsky, Ravel, and Debussy. One can see the profound influence these composers had on the young Shaw. In later years, his orchestras often had Strings and woodwinds. In 1930, the Aaronson band toured to New York city, and when they left, Artie remained in New York. By 1931 (Artie was 21 years old), he was already a top studio sessions musician. In 1930, in New York city, while waiting for his Local 802 card (musician's union), he played with pianist Willie 'The Lion' Smith at 'Pod's and Jerry's', a Harlem night spot. Often sitting in at after hours sessions at local clubs, he earned a reputation as a technically brilliant clarinetist. He enjoyed a number of record dates (as a sideman) with various jazz bands, including some with Teddy Wilson; backing Billie Holiday; and others such as Vincent Lopez, Paul Specht, Roger Wolfe Kahn, and finally with Red Nichols at the Park Central Hotel in 1931.

In late 1931, he worked in the Fred Rich band for a year and then re-joined the Roger Wolfe Kahn band for a year long tour during 1933. After Kahn, Artie freelanced in New York studios, and clubs.

In 1934, he took a hiatus from the music business to run a farm in the Buck's County area of Pennsylvania (not far from New York City), after which he returned to free-lancing in New York.

In May 1936, Shaw formed a small band - strings, clarinet, and three rhythm - for an engagement at the Imperial Theater. The date was so successful, that he was able to obtain financial backing to form a larger group, with regular dance band instrumentation, for a recording contract and a Boston debut. This band, too, was rather short lived. In April 1937, he formed a more conventional big band that was an immediate success, due greatly to the fine Jerry Gray melodic arrangements. This band made several recordings including the hugely successful "Begin The Beguine". The success of this recording propelled his band to the forefront of leading dance bands.

This band had such sidemen as Johnny Best (trumpet); Cliff Leeman (drums); Les Robinson, Georgie Auld (reeds); Tony Pastor (tenor sax); and later, Buddy Rich (drums).

During 1938, the band had Billie Holiday as it's vocalist, but the singer was forced to quit after a succession of disagreeable incidents due to racial discrimination then prevalent in New York's hotels an radio studios. Other singers such as Kitty Kallen, and Helen Forrest (1939) then sang with the band. (His bands in 1938 to 1941, were perhaps his best.)

The actual band in late '38 when Billie was with him consisted of:
Saxes: Les Robinson, Tony Pastor, Hank Freeman, Ronny Perry - Trumpets: Johnny Best, Claude Bowen, Chuck Peterson - Trombones: Russell Brown, George Arus, Harry Rogers - Drums: Cliff Leeman - Bass: Sid Weiss - Guitar: Al Avola - Piano: Les Burness
Due to recording company contract problems, Billie only made one recording with Shaw; "Any Old Time".

Let's watch   VIDEO: Artie Shaw and his Orchestra   in a 1938 Warner Brothers/Vitaphone Short film, that opens with Artie's theme song "Nightmare", then the songs "Begin the Beguine", "Let's Stop the Clock" with Helen Forrest vocal; the instrumental "Non-stop Flight", with Tony Pastor soloing, and finishing with the Russian tune "Sunshine", again with a Tony Pastor vocal.

Then we can watch the Shaw orchestra in their 1939 Vitaphone (Warners Brothers subsidiary) Short entitled   VIDEO: Symphony in Swing   playing the tunes "Alone Together" a moody instrumenmtal, "Jeepers Creepers - with Tony Pastor playing his sax and singing; then Helen Forrest singing "Deep Purple"; and ending with the upbeat instrumental "Lady Be Good"

In the summer of 1939, he was absent from the band for a tonsillectomy, and in the fall (Nov.) of 1939, he abruptly folded the band and went to Mexico. But, he came back to Hollywood for a featured role in the Fred Astaire - Paulette Goddard film 'Second Chorus'. This film brought him another hit record in "Frenesi", as he re-formed a band that had both a string section and a band within a band, - The Gramercy Five. This big band had such sidemen as Billy Butterfield (trumpet); Jack Jenney (trumpet); Nick Fatool (drums) and Johnny Guarneri (piano). When he switched to the small Gramercy Five group, Guarneri also switched from the piano to the harpsichord, giving the Gramercy Five a very distinctive sound. A number of very successful recordings followed including "Concerto for Clarinet"; "Summit Ridge Drive"; and "Special Delivery Stomp". But, once again, Shaw's dislike for the public life caused him to disband, and once again he re-formed a big band only to be forced to fold when America entered WW2.

Incidentally, during the late '30's - early 1940's, Shaw was set up as a rival to Benny Goodman. The antagonism was pure invention on the part of the public relations men. In real life, the two were very amicable towards each other. Nevertheless, their fans engaged in heated arguments over the repective merits of their idols.

In 1942, now as a member of the U.S. Navy, Shaw hand-picked some sidemen and formed a band that toured the South Pacific Theater of War. In February of 1944, he received a medical discharge and formed a new band that featured sidemen such as Roy "Little Jazz" Eldridge (trumpet); Barney Kessel (); Dodo Marmarosa (); Chuck Gentry (reeds); Stan Fishelson, and other top musicians. This band, just like all the others, was short lived. Through the remainder of the 1940's, Artie formed other bands only to break them up within a few months of their formation.

Also in the late 40s, he began studying the classical guitar. In February 1949, he guested at New York's Carnegie Hall with the National Symphony Orchestra. In the spring of '49, he had a short gig at New York's 'Bop City'. He also began developing a career as a writer. Still, in Sept. 1949, he was again touring with a big band, continuing into the early 1950's. In late 1953, he re-formed a very short-lived Gramercy Five. After this, he again tried his hand at dairy farming in Skekomeko, NY.

By the mid-50's, he had retired from music and spent much of his time writing. In 1955, he moved to Gerona, Spain. He remained in Spain, as a writer - he played no music - until returning to the U.S. in 1960, and even sold his Spanish property in 1962. At that time, he was married to film actress Evelyn Keyes, and they moved to a home in Lakeville, CT., where he continued to expand his writing career.

In the 1980's, Shaw again reformed a band, this time under the direction of Dick Johnson, which performed at special concerts. The 1985 film documentary "Time Is All You've Got" traced his career in some detail.

There were plans, in the early 1990s, for Shaw to appear in London, Eng., fronting a band this time formed by Bob Wilber to re-create Artie's music.

Artie's capacity to form and disband many orchestras carried over to his personal life. He also had the same type of unfortunate capacity to marry any girl he met, and divorcing them shortly thereafter. All told, he had eight wives. Among the women he married were;

Shaw's marriages were:
Evelyn Keyes (1957 - to his demise): Keyes was born: 20 November 1919, Port Arthur, Texas, USA Personal quotes: "I always took up with the man of the moment - and there were many such moments."
Doris Dowling (1952 - 1956) (divorced) Dowling was born: 15 May 1923, Detroit, Michigan, USA, d. 18 June 2004, Los Angeles, California, USA. (natural causes). Detroit-born actress Doris Dowling followed her old sister Constance Dowling (who died relatively young in 1969) to Hollywood The marriage produced one son, Jonathan, who later operated a Tattoo Parlor in New York City, and was estranged from Shaw,
Kathleen Winsor (1946 - 1948) (divorced). Winsor was born: 16 October 1919, Olivia, Minnesota, USA, d. 26 May 2003, New York City, New York, USA. (natural causes). She was the writer of the book "Forever Amber" (a women's 'Gothic" story, later turned into a movie.)
Ava Gardner (17 October 1945 - 25 October 1946, divorced). Ava was born: 24 December 1922, Grabtown, North Carolina, USA , d. 25 January 1990, Westminster, London, England, UK. (bronchial pneumonia). Ava, was born on a tobacco farm, where she got her lifelong love of earthy language. She was married 3 times, each ending in divorce. (Frank Sinatra, Artie Shaw, and Mickey Rooney.)
Elizabeth Kern (1942 - ?) (divorced) 1 child Steven Kern Shaw.
Lana Turner (13 February 1940 - 12 September 1940 divorced) born: 8 February 1921, Wallace, Idaho, USA , d. 29 June 1995, Century City, California, USA. (throat cancer) née: Julia Jean Mildred Frances Turner. In her autobiography, she stated that her true birthdate is February 8, 1921. She stated that "I am one year younger than the records show." Unfortunately, her private life -- 7 marriages, alcoholism, and a scandal involving the murder of Johnny Stompanato by Turner's daughter, Cheryl Crane -- often interfered with her advancing screen career.
Jane Carns (? - ?) (annulled)
Margaret Allen (? - ?) (divorced)

After the 6th or 7th divorce, and with government tax problems, Shaw disappeared suddenly from his band, and surfaced in Mexico. (Alimony Payments to 7 wives is such a drag.) His theme song, "Nightmare was truly prophetic!

Like Benny, Shaw was a technical marvel who played with real precision, yet always swinging. Even so, Shaw's erratic bandleading career, together with his erratic personal life, precluded his ever reaching the same level of Benny Goodman's musicianship. Nevertheless, he always had a very delightful and musical band, which with his frequent hiring of black musicians such as Oran "Hot Lips" Page; Billie Holiday, and Roy "Little Jazz" Eldridge, helped in bringing down racial barriers. America is richer because of Artie's music.

[ Milt Shaw Orch ]
Presently no information available

[ Shorty Sherock Orch ]
Trumpet. Was with Ben Pollack's Ork in NYC in 1936, but was over-shadowed by Pollack's "other" trumpeter, - Harry James.
Horace Heidt helped Shorty to start his own band in 1945, by giving him a "book" that was totally unsuited to Shorty's style of playing.

[ Bobby Sherwood Orch. ]
b: May 30, 1911, Indianapolis, IN, USA. d: Jan. 23, 1981 Auburn, MA, USA.
Themes:
Early On: "Waiting"
Later On "The Elk's Parade" (Capitol 107)
Instruments: trumpet, trombone, guitar, piano
Overview
Bobby had been working in the Hollywood studios as both a sideman and occasional leader when he gave up that lucrative career to start his own big band. He wrote his own arrangements, and played the trumpet, guitar, trombone as well as the piano. The band's biggest hit was "The Elks Parade", and it really 'swung' too. I think that Jack 'Zoot' Sims was on tenor sax. Curiously, the band is most remembered today because of this one hit record although it was a good band with some good selling records. Bobby eventually retired to Auburn Massachusetts, where he died of Cancer.

Bobby first appeared on stage, while still a child, in his parent's vaudeville act. In 1933 he replaced Eddie Lang as Bing Crosby's guitar accompanist and for the next nine years lived in Hollywood where he worked as a studio musician for MGM. He also led the band used on the Eddie Cantor radio show and briefly played with Artie Shaw (1940). Bobby was married at this time to Judy Garland's sister Dorothy (Gumm) and fronted studio bands on a few of Judy's Decca recordings.

In the spring of 1942, Bobby formed his first big band, working in the Los Angeles, CA, area, and were quickly signed to a recording contract by Capitol Records. Their very first recording session produced "The Elk's Parade", which became a million seller. Kitty Kallen sang on "Moonlight Becomes You", also made at this session, but left the band shortly afterwards.

The success of this recording date led to a cross-country tour but there would be no more records for over a year because of a recording ban. Notable sidemen who played with band during this period were Dave Pell and Flip Phillips.

In October 1946 Bobby appeared as an actor in a Broadway show, "Hear That Trumpet". The play closed after a very short run and by early 1947 he was back in Los Angeles, where his band appeared for three months at the Casion Gardens. Dave Cavanaugh, who later became a successful arranger for Capitol Records, played tenor sax in this band. It was Sherwood's last successful big band. He would make only three more appearances in recording studios. In 1950 Mercury issued two 78's by "Bobby Sherwood & His Orchestra" but this was a studio group that included Kai Winding, Hymie Shertzer and Babe Russin. In 1954 Coral records released two 78/45's by "Bobby Sherwood - The One Man Band". Bobby played all the instruments on each of the four song titles. There is a Jubilee Lp from the same period. Aside from these record dates Bobby spent most of the remainder of his life working as a radio DJ and actor. Bobby had a part in the movie version of "Pal Joey" and a featured part in "Campus Sleuth" (Monogram -1947).

Vocalists who recorded with the band were Kitty Kallen, Lynne Stevens, Ginny Gibson, and Jay Johnson. Vocalist Gale Landis sang on some of the band's transcriptions. The band's vocal group were called 'The Skylarks'.
The Database thanks Mr. Robin Lenhart for this contribution on Bobby Sherwood.

[ Jack Shilkret Orch. ]
b. Oct. 13, 1896, New York, NY, USA, d. June 16, 1964, New York, NY, USA. USA.
Older (1 year) brother of bandleader Nathaniel Shilkret. (see below)
Né:    Jacob Schuldkraut
Instrument: Piano/composer
Currently no information availaable.
Both Jack. amd his brother Nathanel (see below) had very successful, and very popular bands all during the 1920s and 1930s. Jack is the father of composer-conductor Neil Warner, and the grandfather of actress Julie Warner.

Among the songs that Jack composed are (Note: Frank Crummit was a popular vocalist in the 1920s and '30s):
       "April Showers Bring May Flowers", Co-composed with Nathaniel Shilkret and Leo Wood
       "Aw Ma Whyd ya Wake Me Up", Co-composed with Frank Crumit
       "Candy Sticks", words and music: Jack Shilkret
       "Come Back Come Back Oh Please Come Back", words and music: Jack Shilkret
       "Copenhagen Love Song", Co-composed with Sam Ward
       "Daughter of K K K Katy Love", Co-composed with Charlie abbott, Frank Crumit, Mel Lewis
       "Have I Got a Buddy", Co-composed with Charlie Abbott and Frank Crumit
       "I had a Wonderful Dream", Co-composed with Frank Crumit
       "Ill Dream of You", Co-composed with Nathaniel Shilkret
       "Lazy Summer Moon", Co-composed with Larry Yoell
       "Mamie", Co-composed with Harry B. Smith
       "On the Island of Madeira", Co-composed with Nelson Cogane
And others.

As a composer working in the Hollywood studios, Jack wrote for such films as:
       Cairo (1938)
       Madeira: 'Isle of Romance' (1938)
       Natural Wonders of the West (1938)
       Paris On Parade (1938)
       Stockholm: Pride of Sweden (1937)
       Land of the Incas (1937)
       India on Parade (1937)

[ Nat Shilkret Orch. ]
B: Dec. 25, 1899 New York (Queens borough), NY, USA. D: Feb. 18, 1982, New York, NY, USA.
Né:    Naftule Schuldkraut
Nathaniel is the great-uncle of actress Julie Warner.(Nat's brother is her father.)
Here's a photograph Nat Shilkret, with some very distinguished company. One of six children born to Wulf and Krusel Schuldkraut, Austrian immigrants then living in New York (Queens), NY, Nat often joked that he was "just another jew born on Christmas day". Somehow or other, in time, the original name of 'Shuldkraut' metamorphosed into Shilkret. (One of the six children, Harry Shilkret, later played cornet on some of Nat Shilkret's recordings, while another brother, Jack, led some bands.)

Nat Shilkret began his musical studies at the age of 4 studying clarinet and violin, and later piano. (He must have been a fairly good pianist because he was accepted as a pupil by Charles Hambitzer (1881-1918). Hambitzer's other pupil, George Gershwin also achieved a little fame.)

Even though Shilkret went on to earn a civil engineering degree at Bethany College (Kansas), it was music that became his life's work. (In 1935, he received a doctor's degree in music from Bethany College.) At age 12 or 13, Nat was accepted for a chair with the Russian Symphony and also the Volpe orchestra. Just two years later, Shilkret was playing (under Safranov and also Mahler) with the New York Philharmonic (then called the New York Symphony Orch), and a little later, he joined Walter Damrosch and the Metropolitan Opera Orchestra.

About 1924, at age 23, he began working for RCA (Victor Talking Machine Co.) as the Director of Light Music. (But he was clearly working with Victor prior to that date. There is a 12 inch 'International Concert Orchestra' black label disc issued in 1923 on which the label states "under the Direction of Nathaniel Shilkret". The disk featured excerpts from Franz Lehar's Gypsy Love (35725) as well as Strauss' Gypsy Baron.)

Nat's first orchestra, the Victor (Salon) Orchestra, was a studio band which played operetta favorites in addition to popular music and jazz. In time, Shilkret led other bands at the Victor studios including the International Novelty Orchestra, Shilkret's Rhyth-Melodists, the All Star Orchestra, the Victor Orchestra, the Troubadours (normally led by Hugo Frey), and the the Hilo Hawaiian Orchestra.

It is difficult to deterrmine just when Shilkret and the Victor Recording Company got together. Some early victor catalogs seem to indicate that both a young Nat Shilkret and his brother Jack were there as early as 1913 (when Nat was just 14 years old). It is known that, in 1921, Victor issued a record with The Shilking Orch. That name was a combination of the two Shilkrets, Nat and Jack, and percussionist Eddie King. (The record was "Bring Back My Blushing Rose" (18797) and "When the Sun Goes Down" (18804). Eddie King wound up working for Columbia Records in 1928, But this 1921 recording does indicate the kind of responsibilities that Victor was giving to the very young Shilkret boys.

The height of Nat's recording popularity was 1924-1929 during which time he recorded such best selling discs as "All Alone Monday", "Hallelujah", "Diane (I'm In Heaven When I See You Smile"), "The Sidewalks of New York" and "Dancing With Tears In My Eyes". His band was also used to back other Victor artists such as Gene Austin, Franklyn Baur and Lewis James. And during this time, his brother Jack was also recording for Victor with a studio orchestra.

There had been a growing rivalry developing between Paul Whiteman and Nat Shilkret. Whiteman, who had always had "first crack" at all the songs he wanted, watched as Nat got more and more. In his 1983 book 'Pops', a Paul Whiteman biography, author Thomas DeLong points out a little known and interesting detail of that rivalry. There was some excitement during the April 21, 1927 "Electrical" recording session of "Rhapsody In Blue". First some of the musicians failed to show up on time. Then, George Gershwin disagreed on Whiteman's interpretation of the music. (He thought it a bit too Jazzy'.) Finally, Whiteman left the studio in a bit of a tiff, and when he returned, he found Nat Shilkret on the podium conducting. The recording of that performance was issued with the Paul Whiteman name on the label. But Nat, in a 1963 interview with another author, Brian Rust, said -"It was poor old Nat who conducted!"

Also in 1927, Nat composed the song "The Lonesome Road" with a lyric by famed vocalist/lyricist Gene Austin -(né: Lemuel Eugene Lucas). Composer Sam Coslow has written that Shilkret and Austin "had...revised and dressed up an obscure old spiritual". Interestingly, the record (Victor 21098) appeared 2 months before Jerome Kern's 'Show Boat' premiered in November 1927.

Whiteman finally left Victor complaining that Shilkret was receiving better treatment than "The King Of Jazz" - although the very large amount of money that Columbia was to pay him also no doubt helped. Victor executives later conceded that Shilkret was a major reason for the their loss of Whiteman, but Nat was neither fired or disciplined and in fact continued to work for them as a musical director until 1945.

Shilkret turned his attention to radio and the movies in the mid 1930's. In 1935, he became 'General Musical Director' for RKO - Radio Pictures, while also remaining on the Victor payroll. Among the scores he wrote for Hollywood, were 'The Bohemian Girl', 'Way Out West', 'Swiss Miss' (all featuring Laurel & Hardy), John Ford's 'Mary Of Scotland (starring Katherine Hepburn', and two of RKO's Fred Astaire-Ginger Rogers movies, 'Swing Time' and 'Shall We Dance'.

In the early 1950s. he became Musical Director for Columbia. When not busy at Columbia, Shilkret worked as musical director on dozens of radio shows, concert halls, and theaters. He died at age 83, after having had a very long, interesting and successful musical career.

[ David H. Silverman Orch ]
Another of the great St. Louis Orchs operating in the 1920's. For details on the personnel, see the Gene Rodemich Orch. listing.
You may click on this Rodemich- prompt, if you so desire.

[ Noble Sissle Orch ]
b. July 10, 1889, Indianapolis, IN, USA, d. December 17, 1975, USA.
Theme Songs:
Early-On: "Hello, Sweetheart, Hello"
Later-On: "I'm Just Wild About Harry"
Please also see our Eubie Blake, and most importantly, James Reese Europe entries.
Overview
Sissle was a well schooled Musician who in later years led bands that at times included such men as Sidney Bechet and Charlie Parker, Otto "Toby" Hardwicke, Tommy Ladnier and Buster Bailey. In 1937, Noble Sissle, hired a young girl vocalist named Lena Horne. Also, Sissle's orchestra was one of the first 'black' orchestras to play in 'white' nightclub floor shows. In the '20s, he, along with Eubie Blake, wrote a successful Broadway show called "Shuffle Along". Sissle seemed to want to show the world that Black musicians could play more than 'just' Jazz. He was eminently successful in this effort, and the show was a huge success.

Sissle's career started as a singer working the Vaudeville circuits. During WW1, he was the Drum Major and Vocalist with "Jim" Europe's Hellfighters band. After the war, he began to work more closely with Eubie Blake as a composer. (Eubie had stayed home during the war, and managed Jim Europe's business affairs.)

Sissle's talent as a songwriter gradually drew him to the Broadway scene, where he and Eubie would go to achieve a major breakthrough, with the huge success of their 1921 show, Shuffle Along. Prior to that, black entertainers had a difficult time gaining acceptance on 'The Great White Way'. The show (starring Florence Mills) had such wonderful tunes as "Love Will Find A Way", "In Honeysuckle Time", and the show's big hit, "I'm Just Wild About Harry". Soon, they would again collaborate on still another Broadway Hit Musical, -Chocalate Dandies.

In the late 1920s, Sissle led bands in Paris, France, and in London, England. In the 1930s, he had a very successful band working in the New York City area, and also toured the USA and Europe.
  VIDEO: Noble Sissle, as he appeared in his London, England tour of 1930 (recorded by Pathé and digitally re-engineered here.)

Here's a film clip of the Sissle Orchestra playing   VIDEO: "Little White Lies"   in as they appeared at London's famed Ciro's club. At the end, one member of the band comes out and tap dances to the tune "Happy Feet" (film clip: gmttdan) (Full title read: "NOBLE SISSLE - and his Band from Ciro's Club and of Radio and Gramophone fame.")

Finally, we can watch (circa 1940)   VIDEO: "Mabel Lee Dancing"   backed by Sissle's orchestra. This is a "Panoram Soundie" Not too interesting, -mainly meant to exhibit the many charms of Miss Mabel Lee. (film clip: chas63)

Sissle continued to work (and tour) throughout the 1940s and '50s, gradually becoming more involved with music publishing.
We thank Mr. Verne Buland for this entry on Noble Sissle.

A reprint of an article that appeared in the ST LOUIS POST DISPATCH, JUNE 10, 1918
Ragtime by U.S. Army Band Gets Everyone `Over There'

Drum Major Describes Furor Created Performances of Afro American Band Under Colored Leader

Special Correspondence of the Post-Dispatch
WITH THE AMERICAN ARMY IN FRANCE, June 10

The first and foremost Afro American contribution to the French fighting line is its band. Subsidized by D. 0. Reid with a check for $10,000, and organized by "Jim" Europe, colored orchestra leader, now a Lieutenant in the regiment, the dusky band is fast becoming celebrated throughout France. At the A.E.F.'s chief recreation center, a big Silver Cup and several Golden Palms were presented to the musicians by the municipality. Sergt. Noble Sissle, the regimental drum major, has made a study of the effect of Yankee Ragtime, as interpreted by his bandsmen, on French audiences. He has addressed the following summary of his impressions to the correspondent of the Post-Dispatch with the American forces.

        "After reading so many articles about the American bands and real need of
        them on France, I thought I would write concerning some of our experiences
        over here." "We have quite an interesting time playing our homeland tunes
        for the amusement of every nationality under the sun. The one interesting
        thing - to our agreeable surprise, was the enjoyment that all seemed to get
        out of hearing our ragtime melodies."

        "When our country was dance-mad a few years ago, we quite agreed with the
        popular Broadway song composer who wrote: "Syncopation rules the nation, You
        can't get away from it." "But if you could see the effect our good, old `Jazz'
        melodies have on the people of every race and creed you would change the word
       `Nation' quoted to "World."

        "Inasmuch as the press seems to have kept the public well informed of our band's
        effort to make the boys happy in this land where everybody speaks everything but
        English, I will assume that you know Lieut. James Reese Europe, its organizer and
        conductor. This Lieut. Europe is the same Europe whose orchestras are considered
        to have done a goodly share toward making syncopated music popular on Broadway.
        Having been associated with Lieut. Europe in civil life during this jazz bombardment
        on the delicate, classical, musical ears of New York's critics, and having watched
        'the walls of Jericho' come tumbling down, I was naturally curious to see what
        would be the effect of a `real American tune', as Victor Herbert calls our Southern
        syncopated tunes, as played by real American band.'"

The Jazz Introduced
        "At last the opportunity came and it was at a town in France where there was no American
        troups, and our audience, with the exception of an American General and his staff, was
        all French people. I am sure the greater part of the crowd had never heard a rag-time
        number. So what happened can be taken as a test of the success of our music in this
        country where all is sadness and sorrow. The occassion was at a concert given in a well
        packed opera house on Lincoln's Birthday, and after the opening address by the Mayor
        and the response by the American General, our band began with its evening entertainment.
        And, before the last note of the martial ending had been finished the house was ringing".
        The program started with a French march, followed by favorite overtures and vocal
        selections by our male quartet, all of which were heartily applauded. The second
        part of the program opened with `The Stars and Stripes Forever,' the great Sousa march,
        with applause. Next followed an arrangement of `plantation melodies' and then came the
        fireworks, -"The Memphis Blues."

        "Lieut. Europe, before raising his baton twitched his shoulders apparently to be
        sure that his tight-fitting military coat would stand the strain, a musician shifted
        his feet, the players of brass horns blew the saliva from their instruments, the
        drummers tightened their drumheads, everyone settled back in their seats, half closed
        their eyes, and when the baton came down with a swoop that brought forth a soul-rousing
        crash, both director and musicians seemed to forget their surroundings; they were
        lost in scenes and memories. Cornet and clarinet players began to manipulate notes in
        that typical rhythm (that rhythm which no artist has ever been able to put down on paper),
        as the drummers struck their stride, their shoulders began shaking in time to sycopated raps."

Whole Audience Catching It
        "Then, it seemed, the whole audience began to sway, dignifed French officers began
        to pat their feet, along with the American General, who, temporarily, had Lost his
        style and grace. Lieut. Europe was no longer the Lieut. Europe of a moment ago,
        but Jim Europe, who a few months ago rocked New York with his syncopated baton. His
        body swayed in willowy motions, and his head was bobbing as it did in days when
        terpsichorean festivities reigned supreme. He turned to the trombone players, who sat
        impatiently waiting for their cue to have a `jazz spasm', and they drew their slides
        out to the extremity and jerked them back with that characteristic crack."
        `The audience could stand it no longer, the `jazz germ' hit them and it seemed to
        find the vital spot loosening all muscles, and causing what is known in America as 'an
        Eagle rocking it.' "There now,' I said to myself, 'Col. has brought his band over
        here and started ragtimitis in France! Ain't this an awful thing to visit upon a
        nation with so many burdens?' But when the band had finished and the peopie were
        roaring with laughter, their faces wreathed in smiles, I was forced to say that this
        is just what France needs at the critical moment.

        "All through France the same thing happened. Troop trains carrying allied soldiers
        from everywhere passed us en route, and every head came out of the window when
        we struck up a good old Dixie tune. Even German prisoners forgot they were prisoners,
        dropped their work to listen and pat their feet to the stirring American tunes"
        "But the thing that capped the climax happened up in Northern France. We were playing
        our Colonel's favorite ragtime, "the Army Blues,' in a little village where we were
        the first American troops there, and among the crowd listening to that band was
        an old woman about 60 years of age. To everyone's surprise, all of a sudden she
        started doing a dance that resembled `Walking The Dog.' Then I was cured, and
        satisfied that Arnerican music would some day be the world's music. While at
        Aix-les-Bains, other musicians from American bands said their experiences had been
        the same?'
See Note below:

        "Every musician we meet - and they all seem to be masters of their instruments - are
        always asking the boys to teach them how to play ragtime. I sometimes think if the
        Kaiser ever heard a good syncopated melody he would not take himself so seriously.
       
        "If France was well suppIied with American bands playing their lively tunes,
        I'm sure it would help a good deal in bringing home entertainment to our boys,
        and at the same time make the heart of sorrow-stricken France beat a deal lighter."

Note:
Since, the 'Hellfighters' were the Army's only 'Black' band, and if "other" musicians were reporting the same results to the 'Hellfighters', then it seems that there were other -'White'- bands also playing Ragtime for the Troops. A point not often noted by historians. Considering the current state of race relations throughout the world, this observation is NOT meant to detract from the praise truly due the Jim Europe band, rather to only point out an apparently little known fact. Other bands of the day were already widely involved in playing 'Ragtime', a music that had already begun to achieve popularity in America during the 'teens years.

[ Ray Sinatra Orch. ]
Ray Sinatra is greatly overshadowed by his much more famous cousin, singer Frank Sinatra. Ray Sinatra's father was a cousin of Frank Sinatra's father, making them second cousins. While Frank Sinatra never helped Ray to any great extent, Ray helped Frank by arranging some songs for him.

Ray should be better known. He had worked as the pit band leader for a number of Broadway shows. He was also the leader on Mary Martin's famed recording of the Cole Porter tune "My Heart Belongs to Daddy" (rec'd: January 25, 1940, originally from the 1938 Cole Porter Show: Leave It To Me). Ray also led bands on several radio shows, including both conducting and arranging the songs on singer Mario Lanza's radio show.

He was also one of the better, and, at the time, better known American arrangers. Just two of his hit arrangements include 1939s "Our Love" (w and m by Larry Clinton, Buddy Bernier & Bob Emmerich). It was orchestrated by Ray for singer Mary Martin. Another of his arrangements was 1940s "Hear My Song, Violetta" (the original German lyric was by Ermenegildo Carosio & Othmar Klose, and the the music was by Rudolf Luckesch & Othmar Klose. The English lyric was by Buddy Bernier & Bob Emmerich. Ray orchestrated the tune for singer Tony Martin. Still another of his 1940s recording was "I Didn't Know What Time It Was" (lyric: Lorenz Hart, music: Richard Rodgers) for famed singer Hildegarde.

In 1944, Ray led his own band in public for the first time when he appeared in a New York City night club called 'The Versailles'. His band alternated with 'Machito's Rhumba Orchestra'. (Machito's birthname was Frank Grillo, and the orchestra's musical director was Mario Bauza, -Machito's brother-in-law. Bauza was a good saxophonist & trumpeter who had played with the Chick Webb & Cab Calloway orchestras.) There is a very interesting sidelight to that appearance. At the Versailles, Ray was arranging for singer Perry Como, who was, in a manner of speaking, a rival to Ray's cousin, Frank Sinatra, many of whose early arrangements he had also written.