[ Freddie Slack Orch ]
b. Aug. 7, 1910, Westby, WI (near La Crosse), USA. d. Aug. 10, 1965, Hollywood, CA, USA.
né: Fredrick Charles Slack
Theme Song: "Strange Cargo" (co-composed with Ray McKinley)
Here's a photo of pianist Freddie Slack, and another of Freddie, who was featured with the Jimmy Dorsey Orch, and then joined 'The Will Bradley-Ray McKinley Orch.'
Soon after moving to Chicago in 1927, he switched, from the Drums to piano. In these early years, Slack worked with Johnny Tobin's orch. In 1931, he moved to Los Angeles, CA, where he worked with bands led by Henry Halsted, Earl Burtnett, Archie Rosate and Lennie Hayton. During 1934-36, he worked with Ben Pollack's band, and from 1936-'39 was part of Jimmy Dorsey's band, where he worked alongside drummer Ray McKinley. Since Freddie had started his career as a drummer, there was a natural affinity between the two men.

Between 1939-'41, he was the pianist for The Will Bradley - Ray McKinley Orchestra, so named because both men were partners in the new venture. Slack drew much public acclaim for his piano work on the band's famous recording of "Beat Me Daddy, Eight To The Bar", as well as on many other Bradley recordings. These helped launch a boogie-woogie fad. (Slack was also heard on some Big Joe Turner recordings during this time, and with another 'Blues Man' - "T Bone" Walker, later during Slack's Capitol Records days.) Early in 1941, Slack left the Bradley-McKinley band and his place was briefly taken by Bob Holt, from Worcester, MA., before being replaced by Billy Maxted.

In early 1942, Ray McKinley left and Bradley re-formed the band, now simply the 'Will Bradley Orchestra', with only guitarist Steve Jordan and the two vocalists, Lynn Gardner and Terry Allen retained. The new band had, among others, Shelly Manne and Shorty Rogers. However, the band was short-lived due to the WW2 Armed Forces Draft. In 1942, Slack formed his own orchestra (as also did Ray McKinley), and was one of the first bands signed for Johnny Mercer's then brand new label, Capital Records. (The band recorded for Capitol between 1942-'47.) His recordings of "Cow Cow Boogie" (Capitol's first big hit) and "Strange Cargo" (co-composed by Slack and Ray McKinley) were, and still are, huge hits. The band's popularity was greatly aided by the work of their "girl" singer, Ella Mae Morse, whose voicings were just perfect for the band's Swing styling and Boogie Woogie recordings.

Parenthetically, with the Bradley-McKinley Band's breakup in '42, and the dissolution of Bradley's own orchestra, Bradley returned to radio and recording studio work (very occasionaly fronting a pick-up band). Bradley also did some Classical composing, including a Trombone Sonata (for the American Composer's League), several large String works, and even a Brass Suite. Near the end of his career, he became interested in Gem Cutting, Silver Smithing, Wood Sculpture and Painting.

Two of the band's arrangers were Les Baxter, who also played tenor sax in the band, and Phil Moore, not part of the band, but a pianist/vocal coach/composer who helped. Moore wrote one composition for the Slack band called "Fugue for Barroom Piano (and Symphony Orchestra)", which was performed in concert in Los Angeles, CA, but never recorded. (Just a few of Moore's more 'standard' compositions include "Shoo Shoo Baby"; "I Feel So Smoochie"; "Dot Dash Dot", "The Samuel Morse Song" "Barcarole For Baby", "Buddy Rich For Jam", "Cold Water Flat", "Hear De Boidees", "John Nesbit's 'Passing Parade'", "Lazy Lady Boogie", "Miss Black America Pageant", "Night Bloomin' Trash Man", "Shoo Shoo Baby", "5 31 Exactly", "125 Street Prophet", and "Fantasy For Girl and Orchestra".) His tune "Ogoun Badagris" was recorded by Charlie Barnet in 1939. (Moore's best quote: "I was going to be a pianist until I heard Tatum.") Guitarist, Bob Bain, also played with Slack from '42-'43.

By the end of the 1940s (and the end of the Big Band era), Slack faded from the spotlight. Still, during the 1950s and '60s, Freddie Slack, now based in Los Angeles, was often heard around the town, fronted a band occasionally, and even recorded a final small-group album for EmArcy in 1955.

Among the Hollywood films in which Freddie Slack's band appeared, are:
Reveille with Beverly - 1943
Hat Check Honey - 1943
Seven Days Ashore - 1944
Take it Big - 1944
Babes On Swing Street - 1944
High School Hero - 1946
Most were "B" pictures from 'Universal' and 'Republic', but the band also appeared in 1943's 'The Sky's the Limit', starring Fred Astaire and Joan Leslie.

Freddie Slack composed perhaps 20 or 30 tunes (most by himself), but his single biggest hit by far was "The House of Blue Lights", co-composed with Don Raye. A dozen or more groups and vocalists have "covered" the song, including the Andrews Sisters, Commander Cody, Asleep At The Wheel, Meat Puppets, Chuck Berry and George Thorogood.

The BigBands Database Plus thanks Mr. James Shaw for contributing the above entry on Freddie Slack.

      [ Beasley Smith Orch ]
No Information presently available.
Led a Nashille orchestra featuring some of the area's top musicians and one Vanderbilt University undergrad; singer Dinah Shore. One of the better songs of the 1954 season was "That Lucky Old Sun," written by Haven Gillespie and Beasley Smith. Singer Frankie Laine recorded the classic version of this hit tune.

In private correspondence, Mr. Paul Bauer has recalled:
       "Beasley Smith was the Conductor of the (radio station) WSM Staff Orchestra
       for many years. One of the sponsored music programs was the "Lion Oil Show",
       aired every Sunday afternoon. In addition to Dinah Shore, other artists coming
       from this orchestra included "Snooky" Lanson, ('Lucky Strike Hit Parade'), (and)
       Owen Bradley, Producer, A&R Rep, Orchestra Leader, piano player. Owen was
       probably the person most responsible for the "Nashville Sound".

Beasley, who was one of the first songwriters to come out of Nashville, TN. also composed "Beg Your Pardon" and "Night Train To Memphis", Among the other tunes written by Haven Gillespie are "Santa Claus Is Comin' To Town" and "You Go To My Head")

      [ Stuff Smith Orch. ]
b. Aug. 14, 1909 Portsmouth, OH; d. Sept. 25, 1967, Munich, Germany
né: Hezekiah Leroy Gordon Smith
Jazz Violinist and Leader
Overview
Here's a photo of "Stuff" Smith, a Jazz Violinist, who was one of those rare musicians endowed with the special ability to create highly entertaining music with a strong personal flavor that deeply touched his audiences. His jocular style of playing and singing showed the strong influence of Louis Armstrong. (What musician hasn't been influenced by Armstrong?) His use of the violin echoed the Jazz bands of much earlier days, and in his capable hands, it was the equal of any other band instrumnet. He was capable of great melodic invention that was coupled with a wonderful phrasing and a strong sense of rhythm. He was a master musician who is not as appreciated today as he should be. Listening to his many fine recordings, one is sure to feel the excitement of this great and entertaining jazz master.

'Stuff's' father was a violinist, his mother was a pianist, and by just age 6 he was already studying the violin. He went on from there to more serious musical studies. In 1924, at age fifteen, while attending Johnson C. Smith University (on a music scholarship) he heard Louis Armstrong, and abandoned his goal of becoming a classical musician, turning to Jazz and Pop music instead. He left school to join a touring musical show (and there picked up his nickname "Stuff").

'Stuff' left the touring show, and from 1926-'28, worked with the Trent Alphonso orchestra . Following Alphonso, Stuff was briefly with Jelly Roll Morton before again returning to Alphonso. He stayed with Alphonso until 1930 and then settled in Buffalo, NY, leading his own band for a few years. In 1936, Stuff relocated to New York City, there to receive his widest acclaim.

Finding work on New York's famed 52nd Street ('Swing Street'), 'Stuff' formed a sextet called 'Stuff Smith and his Onyx Club Boys'. Among the "boys" were Jonah Jones on trumpet and Cozy Cole on drums. He recorded for Vocalion Records and also started occasionally singing and playing with an amplified violin - an innovation for that time. Two of his better known recordings of the day were "I'se a Muggin'" (composed by 'Stuff') and "You'se a Viper", (651 kb). Both tunes featured trumpeter Jonah Jones. All through the 1940s, 'Stuff' continued to record and perform in New York. It is little remembered today, but in 1943, Fats Waller died on a train returning him to New York, and 'Stuff' became the new leader of Waller's band.

By the 1950s, Swing Street and the Big Bands had passed into memory. 'Stuff's' sextet was also gone. He worked as a sideman with other Jazzmen including 'Dizzy' Gillespie. In 1953, 'Stuff' had a solo on Sun Ra's first recording "Sound Sun Pleasure!". In 1957, Verve Record's owner Norman Granz featured 'Stuff' on different albums with such musicians as the Oscar Peterson Trio, Carl Perkins, and a collaboration with 'Dizzy' Gillespie. Also in 1957, Stuff was recorded in collaboration with famed violinist Stephane Grappelli (of the original 'Hot Club of France') on a disk "Violins No End."

During the 1960s, 'Stuff' toured, and recorded, extensively throughout the U.S. and Europe. On records, he was heard with such violinists as John-Luc Ponty and Svend Asmussen. In 1965, he permanently relocated to Copenhagen, Denmark. where he was a popular artist. He was just 58 years old when he died.

In personal eMail, one reader, Mr. Steen Moercholdt, has advised that:
   "'Stuff's' grave is situated in a graveyard just outside Juelsminde
   called Klakring. Juelsminde is between Vejle and Horsens. He is lying
   just beside the entrance. I went to contact our local archive here in
   Juelsminde about the question of how he ended up here. Someone told me,
   that his wife came from this part of Denmark."

      [ Elmer Snowden Orch. ], Later: The Washingtonians.
b. Oct. 9, 1900, Baltimore, MD. d.
Here's a photo of Elmer Snowden, who began his career playing locally in various small bands in his home town. By 1920, he was leading his own combo in Washington, D.C., (including Sonny Greer (drums) and Otto Hardwicke (reeds). In 1920, the band came to New York where they had been promised work if "Fats" Waller would join them. That was both fortunate and unfortunate. The unfortunate part is that Fats didn't join them and they didn't get the promised gig. The fortunate part is that Snowden then sent for Duke Ellington to come up from Washington D.C. to join them. This group, with Ellington, came to be known as The Washingtonians. Here's a photo of the Elmer Snowden Orchestra, before Ellington joined.

In retrospect, it was an auspicious moment in musical history. The Washingtonians - with the man that later came to be called the "Duke", enjoyed great success in New York city. From 1923 on, The Washingtonians were recorded by virtually every major label then operating in New York City. They recorded (with different vocalists) under different names including "The Sepia Serenaders" (for RCA Victor/Bluebird), and as the "Red Hot Eskimos" (for Columbia, and Ajax - a Canadian label).

In 1927, The Washingtonians then playing at a Harlem club called the Bambille included sidemen Bill (later Count) Basie (piano), Jimmy Lunceford (Reeds), Claude Hopkins (piano), William Frank "Frankie" Newton (trumpet), "Tricky" Sam Nanton (trombone), Bubber Miley (trumpet), "Chick" Webb (drums), and Benny Carter. In the band during their 1928-9 engagement at the Hot Feet Club (in New York's wich Village area) were Garvin P. Bushell (clar.), Otto Hardwicke (alto/Bass sax), Fats Waller (piano), and Chick Webb (drums) in the band. In 1930, the Washingtonians were playing at 'The Nest' and had Joseph Copeland "Joe" Garland (composer/tenor/bass sax), Frederic "Keg" or "Freddy" Johnson (trumpet), Jimmy Harrison (trombone), and Prince Robinson (clar/tenor sax). Also in 1928, Elmer Snowden played in Ford Dabney's "Pit" band for the show 'Keep Shufflin'.

In 1930, he appeared with Eubie Blake in the show 'Blackbirds of 1930'. All during 1931-33, The Washingtonians were resident on one of Harlem's most popular clubs, - Small's Paradise. That band featured Gus Aiken (reed), Garvin P. Bushell (clar), 'Big' Sid Catlett (drums), Roy "Little Jazz" Eldridge (trumpet), Al Sears (tenor sax), and William "Dickie" Wells (trombone).

In 1956, Snowden appeared in Canada. Returning to N.Y.City, he appeared at such clubs as Jimmy Ryan's, The Metropole, and Central Plaza.

      [ Joe Sullivan Orch. ]
b. Nov. 5, 1906 Chicago, IL, USA. d. 1971, San Francisco, CA, USA.
Instruments: Piano/Composer.
né: Dennis Patrick Terence Joseph O'Sullivan.
Sullivan, who had studied at the Chicago Conservatory of Music, was quite intimate with all the other "Chicagoans" of the time --including Muggsy Spanier; Bud Freeman; Benny Goodman; Frankie Teschemacher; Pee Wee Russell; George Wettling and Eddie Condon. From ca. 1927, he worked with many 'jazz' groups and commercial bands in both Chicago and New York. Among the (1930s) bands with whom he played were Roger Wolfe Kahn; Louis Panico; Coon-Sanders Nighthawks; Ozzie Nelson; accompanied Bing Crosby ,and even with Russ Columbo. And, he recorded with Benny Goodman's orch; and with Joe Venuti and Eddie Condon groups.

In 1937, he played with the Bob Crosby band and then (owing to illness) took a hiatus from the music business for two years. When he recovered, he again worked (one year) as accompanist for Bing Crosby, briefly rejoined Bob Crosby, and finally appeared in New York's famed Cafe Society club (late 1939). For this Cafe Society date, he fronted his own sextet (which included Edmund Hall on clarinet). In 1940, he again led his own band at "Nick's" ( a jazz club in NYC's Greenwich Village district). After that, he toured the USA as a "singles act" playing a great many nightclubs - including one owned by his old friend Eddie Condon (also in NYC). While he did join Louis Armstrong's band briefly in 1952, he worked mostly as a single in San Francisco for the remainder of the 1950s. (Mostly at a club called the "Hangover".)

As a composer, he did manage to pen a couple of tunes that are still remembered: "Gin Mill Blues" and "Little Rock Getaway". He told folks that his early influences were mainly Fats Waller and Earl "Fatha" Hines. (His work is available on a fair number of LPs.)

      [ Bill Snyder Orch. ]
Leader, composer, pianist.
Overview
A Chicago based "sweet" band best remember today for their recording of Rodgers and Hart's "BEWITCHED, BOTHERED, AND BEWILDERED", from the Broadway musical 'Pal Joey'. The orchestra had some hit recordings into the 1950's, after the big band era had ended.

      [ Terry Snyder Orch. ]
b. 1916 , d. March 17, 1963, New York, NY, USA
This fine drummer received his band training working with the Bert Block Orchestras. Orchestras is plural because Bert divided the band into the Bert Block Orch., a standard big band, and the Bell Music Orchestra, that used Bells and Celeste instrumentation. While Block's orchestra never achieved any great success, Snyder, a fine percussionist, made a good career in music.

In 1940, he was a featured musician on New York Radio Station WNEW. Snyder went on to work with singer Perry Como until Terry died. As Como's favorite drummer, he worked on Perry's Radio and Television shows, as well as on recordings. In the early 1950's. he sat in with a variety of widely differing groups including Stan Freeman's harpsichord album, classical schmaltz pianist 'Shura', and light jazz combos led by Bill Clifton.

He worked with Enoch Light and Lew Davies on the first four "Persuasive Percussion" LPs released on Enoch Light's new Command label. United Artists lured him away from Command to debut their competing "Wall-to-Wall Sound" series of LP albums.

Among his recordings are:
Footlight Percussion, United Artists WWS 8508
Gentle Purr-cussion, United Artists
Mr. Percussion (also released as "Unique Percussion"), United Artists WWS 8500
Persuasive Percussion, Vol 2, Command RS808SD
Snyder can be heard playing on
Bill Clifton, Columbia CL 6166
Stan Freeman, Come on-a Stan's house: Stan Freeman at the harpsichord, Columbia CL 6193
Shura at the piano, King Records

      [ Harry Sosnick Orch ], No Further Info
Theme Song: "Lazy Rhapsody". Very active late 1930's and 1940s

      [ Muggsy Spanier Orch ]
Theme Song: "Relaxin' at the Touro"
Recorded with many of the great Dixieland groups and played trumpet with the Ted Lewis Orchestra for many years. Before and after, Ted Lewis, he fronted mnay Dixieland groups.
Here's a photograph of Mugsy Spanier, who had a long, severe and almost fatal illness from which he recovered.
His 1941, 15 piece big band featured such players as: Irving Fazola; Vernon Brown; Ralph Muzillo; Dave Bowman and Nick Caiazza and Mugsy on Trumpet. Deane Kincaide wrote the "book" for Mugsy's band. (Deane had written for the Bob Crosby and the Tommy Dorsey Orchs also.) And, here's another photograph of Mugsy in action, leading his band Mugsy's Serenaders, with Mugsy playing his trumpet.
When Mugsy's band left the Arcadia Ballroom in New York City, it broke up because the musicians weren't willing to go on the road for the kind of salary that Muggsy could afford to pay.
In 1944, Muggsy was back with the Ted Lewis Orch, and fronted small combos until he died in 1966

      [ Paul Specht Orch ]
Violinist. B: March 24, 1895, Sinking Springs, Pennsylvania, USA, D: April 11, 1954, New York, NY, USA (his remains were returned for burial in Sinking Springs, PA)
Themes:
Early on, "Evening Star"
Later on, "Sweetheart Time"
Specht was a true pioneer in the dance band business. He started, in Detroit, with a six-piece group in 1916. At that time the band business was truly in its infancy.

Within a few years he had enlarged the band to twelve, many of them the all-star musicians of the period. He was the first to have a "band within a band." He formed a six-piece group called The Georgians, usually "led" by his first trumpet, - Frank Guarante. And, here's The Georgians playing Chicago.

During the early and mid-twenties Paul Specht's orchestra was one of the best known in the business, and the training ground for many who would later become the big musical names of the thirties. A great many of the sidemen who worked with Paul were later to lead their own bands. Among these sidemen were: Russ Morgan, Chauncey Morehouse, Arthur Schutt, Charlie Spivak, Bob Chester, Artie Shaw, and Orville Knapp.

Here are some interesting photographs. One of the Paul Specht orchestra, and one of Paul Specht's Society Serenaders, and still another of Paul Specht's Hotel Alamac Orchestra, and finally this view of the Paul Specht Band - (The Big Bands Database Plus thanks Mr. Leonard Schwartz for these interesting photos.)

In the late 1920's, Specht became the first band to be heard on radio, when his orchestra was broadcast by Station WWJ in Detroit.

Paul also wrote many songs the best known of which are "Moonlight on the Ganges" and the novelty number, "Who Takes Care of the Caretaker's Daughter". Spechts early recordings were first for Okeh and then for Columbia Records.

  "Roll 'Em Girls, Roll 'Em", (439 kb): Paul Specht Orchestra with Jimmy Morris singing. In the 1920s Jazzage, the young ladies, in defiance of their elders, would roll down their stockings and parade around with their stocking below the knee. Oh Yes. Did I mention that the ladies also hiked their skirts.

  "Static Strut", (512 kb): Paul Specht Orchestra with a song that Specht wrote.

  "I've grown Lonesome Thinking Of You", (503 kb): Paul Specht Orchestra with Jimmy Morris singing.

  "I'll Always Remember You", (500 kb): Paul Specht Orchestra with Jimmy Morris singing.

  "One More Night", (437 kb): Paul Specht Orchestra with Jimmy Morris singing.

  "Album Of My Dreams", (499 kb): Paul Specht Orchestra with an instrumental.

The above tunes were submitted by Mr. Leonard Schwartz

In addition to touring all over America, Paul made at least one European tour. Here's a photo that has been attributed to the Canadian group, The Toronto Band, but which in fact may be a photo of the Paul Specht band, in the London, England recording studio of Columbia Records (1926). The face at the far top far right side may be Art Christmas, then playing trumpet with the Specht group. Eventually, Specht gave up leading a band and formed a booking agency. He died in New York in April 1954 at the age of 59.

      [ Earle Spencer Orch. ]
b. Dec. 9, 1926, MA, USA. d. Sept. 23, 1991, CA, USA.
Instrument: trombone
Earle formed his big band in 1946 after being discharged from the U.S. Navy because of a heart murmur. He had studied trombone and played in a Naval unit but Navy doctors advised him to give it up because of his heart problem. When he formed his big band he would occasionally play but never took any solos.

The band was based in Los Angeles and was modeled after the progressive sounds of Stan Kenton, Johnny Richards and Boyd Raeburn. His 1946 band included former Glenn Miller sideman Wilber Schwartz on clarinet and alto sax and Ray Linn, who had played with Tommy Dorsey, on trumpet.

When Stan Kenton disbanded in early 1949, Harry Betts, Art Pepper, Buddy Childers and Laurindo Almeida were hired by Spencer. But with the end of the Big Band era, Spencer also disbanded, in 1952.

The band recorded for the Black and White label in 1946 and 1949. Bob Haywood was vocalist for the 1946 band.

Toni Aubin joined Spencer as female vocalist in 1949. She married Howard Phillips who was playing sax (1947-49) in the band. (Bob Lively was also playing in the band.) Toni recorded "Sunday Afternoon" and other songs with the Spencer orchestra, but also recorded with the Louie Ohls Orchestra out of Arkedelphia, and the Phil Carreon Big Band out of Los Angeles, CA.
The Big Bands Database thanks Mr. Ian Phillips, son of Toni and Howard Phillips for the information on his Mother, Toni Aubin.
This entry on Earle Spencer contributed by Mr Robin Lenhart.

      [ Phil Spitalny and His Hour of Charm Orchestra ]
Theme Song: "My Isle of Golden Dreams"
Phil Was the Male Leader, but it was an All-Girl Orchestra. (There were other 'ALL" girl Orchestras. Perhaps the best known was Ina Ray Hutton & her Melodears). One of the features of the Phil Spitalny orchestra was "'Evelyn and her Magic Violin". Phil's radio show was called the "Hour of Charm" and the Mistress of Ceremonies was Arlene Francis.
Phil had a decent enough Radio and Dance orchestra when he started, but this "all girl" orch never went any place. It was just a novelty of the times. In time, Phil married his 'magic violinist' and retired to Miami Beach. He filled out his retirement years as a music critic for a local Miami newspaper.

      [ Charlie Spivak Orch. ]
b. Feb. 17, 1907 Kiev, Ukraine, d. Mar. 1. 1982 Greenville, SC
Theme Songs: "Stardreams" and "Let's Go Home".
While still a young child, his family emigrated to the U.S., and Charlie grew up in New Haven, Connecticut. He began playing trumpet at age ten, and as a teenager was gigging locally and found work with Don Cavallaro's Orchestra. During 1924-'30 he was with Paul Specht's Orchestra, then with Ben Pollack, in 1931-'34, the Dorsey Brothers, 1934-'35, and Ray Noble. During most of 1936-'37 he was working in the studios following which he worked with the Bob Crosby,   Tommy Dorsey and Jack Teagarden orchestras, almost always as the Lead Trumpet. Then, in November 1939, with Glenn Miller's encouragement, and financial backing, he formed his own first band, which failed within a year due to friction between the musicians and himself. But, his second attempt shortly thereafter was more successful. Bassist Jimmy Middleton and Davey Tough on Drums really anchored the rhythm section. Vocalists were (boy) Garry Stevens and (girl) June Hutton (Ina Ray Hutton's kid sister). Later on, June replaced Jo Stafford in the Pied Pipers group (and in their great hit -"Dream") and then married Axel Stordahl. (She also sang with Axel's orchestra for Capitol Records.) 'The Stardusters' vocal ensemble were outstanding. (Check out their version of Mitchell Parrish and Hoagy Carmichael's "Stardust".) This band was to become a major attraction throughout the 1940's and continued until Charlie disbanded in 1959. Here's an advertiser's photo of Charlie Spivak, that appeared in musical magazines at about this time.

Let's watch a film clip of Charlie Spivak's band as they appeared in the 1944 film
  VIDEO: "Follow The Boys"  

Another of his singers was Tommy Mercer (photo courtesy bandleader Bob January.) In 1948, singer Irene Daye joined the band when June Hutton (Ina Ray Hutton's sister) and The Stardusters left Spivak. On March 31, 1950, Daye and Spivak were married in Greenwich, CT. A curious sidelight on his career is that despite spending a good deal of his young life with great Jazz musicians, Charlie rarely improvised. His orchestra was what might best be termed a good Hotel or Society Dance band. When the Big Band era ended, Spivak remained active forming orchestras for specific work in Las Vegas, Florida and South Carolina. Charlie was married to singer Irene Daye (who had sung with Gene Krupa's band). Perhaps his best remembered recordings are his theme "Let's Go Home," "Autumn Nocturne" and "Star Dreams." He recorded as late as 1981, and worked right up to his death at age 75, in South Carolina.

      [ Dick Stabile Orch ]
b. May 29, 1909, Newark, NJ, USA. d. Sept. 18, 1980 New Orleans, LA, USA.
Instruments: Alto Saxophone
Theme: "Blue Nocturne" (Capitol 3819)
Overview
Here's a photograph of Dick Stabile and vocalist Gracie Barrie. Gracie was Bandleader Dick Barrie's sister. In private correspondence, Louis Stabile, nephew of Dick Stabile, has told us that Dick had only one sister, Connie, who is still -happily- with us and living (July 2000) in New York City. Judy Stabile (Dick's Niece - daughter of Joe Stabile - see photo below.) has kindly sent this photo showing the band's Sax section grouped around leader Dick Stabile, who is holding his new "Dick Stabile Signature Model Sax". (On the far left, Joe Stabile is standing with his sax under his arm.) On August 12, 1942, Dick was also featured in a "Believe It Or Not" Ripley cartoon (in Chicago's Herald-American newspaper) showing him and his sax, and saying that he was the "Only Musician" to hit the top note on the Sax --"an Octave and 2 Notes above the Scale - practically a range of 4 full octaves."

Dick came from a Musical family. His father was a featured violinist with the Vincent Lopez Orchestra for many years. It was Lopez who advised him to play the sax also, as it seemed to be gaining popularity. When his dad brought home a brand new Selmer Saxophone, it was the young son, Dick Stabile, who took to the instrument. He did take some lessons, and also learned to play the piano. Dick Stabile learned the Big Band business from his time as featured Saxophonist with the Ben Bernie Band, where he served for many years. He had joined Bernie in the early 1930s when Dick was only 15 years old. He formed his own orchestra in 1936, later hired, and in time married, vocalist Grace Barrie. The band's highlight was a sextet of reeds, ranging from clarinet to bass sax. Near the end of his career and the big band era, Dick was leading an orchestra at the Hotel Roosevelt, in New Orleans, LA., and was also acting as musical director for the Dean Martin and Jerry Lewis show.

Stabile began his career by working in Broadway theater bands. He worked in the shows Sunny, and Captain Jinks in 1925. He was hired by Ben Bernie and played with him from 1928 until early 1935. In September of 1936 he recorded for the first time using his name with a studio group called 'Dick Stabile and His Saxophones'. Two of those four sides were released on the Panachord label.

He formed his big band in late 1936 although the first records made as 'Dick Stabile and His Orchestra' predate the bands existence. His was the first band to have more than 3 saxopohones. -they had 5, including Dick himself (and his brother Joe, who also played saxophone. His brother Joe also led a U.S.Airforce band during WWII). In January 1936, he recorded a number of sides for Decca with a studio band featuring Mike Riley, Eddie Farley, and Bunny Berigan. His first vocalists included Burt Shaw (1936-38) and Paula Kelly (1938), who later become the female lead in The Modernaires, with the Glenn Miller Orch. The band received notoriety when it appeared at the 1939-1940 Worlds Fair which led to work at major hotels in New York. Stabile continued leading a band until 1942 when he enlisted into the U. S. Navy, where he also led a band. Gracie Barrie, Stabile's wife and band vocalist, took over after her hubby's band when Stabile left to join the Coast Guard during WWII. (He led the official Coast Guard dance band in WWII.) Gracie was featured as singer and the orchestra was solely in her name. She played the Paramount Theater in New York City, and appeared at the top spots around the country. At the end of the war she divorced Stabile and moved to Miami Beach. (Gracie also as vocalist for Abe Lyman before Stabile.) The band recorded for Bluebird, Decca, the ARC labels and Vocalion/Okeh during this period. His wife, Grace Barrie, the bands female vocalist, led the band while Dick was in the service.

After being discharged Stabile settled in Los Angeles, and his band found work at a famous 'Wilshire Boulevard' nightclub called 'Slapsy Maxie's' (named for, and owned by a then famous prizefighter named "Slapsie" Max Rosenbloom"). In 1949, the band was hired for a job at another famed Hollywood club, Ciro's, where he worked with the comedy team of Dean Martin and Jerry Lewis. It was a relationship that continued until his death. Stabile worked with them on radio, television and in the movies (director Hal Wallis had 'discovered him while the band was at 'Slapsie Maxie's) for the ten years that the Martin and Lewis team were together. Dick backed singer Dean Martin on records and even after Martin and Lewis broke up, worked with Martin on his TV show and Las Vegas act and led the orchestra for the Jerry Lewis telethons. Here's a snapshot of Jerry Lewis and Dean Martin, in their dressing room between shows. Dean is napping while Jerry is clowning around with Dick Stabile looking on as Jerry tries to play Dick's sax. Their relationship was close, and even today, Joe Stabile (see picture above) is still a friend and agent for Jerry Lewis. With the dissolution of the Martin and Lewis partnership, Dick Stabile took the band to New Orleans where there were resident at the Roosevelt for several years, until Dick suffered a massive stroke which paralyzed his left side. He did return to the Roosevelt Hotel after his recuperation.

In the 1950's and 1960's Dick worked with Jimmy Dorsey and Vincent Lopez. The late 1960's found him in Los Angeles leading another band that played at The Ambassador and The Glendora Ballrooms. It was frequently broadcast over KFI radio. By the mid-1970's he had again relocated to New Orleans where his band was a major atttraction at The Hotel Roosevelt, until his demise due to coronary arrest.
Thanks to Dick's nephew Mr. Lous Stabile and niece Ms. Judy Stabile for these notes on Dick Stabile, and for permission to reproduce the wonderful photographs.

      [ Jess Stacy and His All Stars ]
b. August 11, 1904 Bird's Point, MO, USA. d. Jan. 5, 1994, Los Angeles, CA, USA.
Played: Piano
Theme: "Daybreak Serenade" (RCA 20-1708) (perhaps his own composition)
Overview
Here's a cover photograph of Jess Stacy, a fine pianist who was very active all through the 1940s (and before). His work in the Benny Goodman band was outstanding. Unfortunately, his own group was short-lived. Jess, whose style was strongly influenced by the playing of Earl 'fatha' Hines, was part of the Chicago jazz scene in the 1920's, and then played largely in dance orchestras 'til 1935. He worked 4 years with Benny Goodman and then three years with Bob Crosby. Between Crosby and his own band in 1945, he played mostly with Dixieland groups.

A great swing pianist, Jess Stacy began playing with a local school groups and, then, in the early 1920's played on Missouri and Mississippi riverboats. During the winter months he lived in Davenport, Iowa where he played with Tony Catalano's Iowans at the Coliseum Ballroom. By 1925 he had moved to Chicago. He joined the Joe Kayser Orchestra in 1926 remaining with that band for three years. He left in 1928 and spent the next few years freelancing with bands at nightclubs, speakeasies and ballrooms. Producer John Hammond heard and recommended him to Benny Goodman. He joined the Goodman band in July 1935 and worked there for most of the next eleven years. Although he appears on numerous Goodman recordings he is most known for his solo towards the end of the Carnegie Hall version of 'Sing, Sing, Sing'. In later years, Benny Goodman said that Stacy had only been written-in for a few bars on his solo. However Goodman said that he could clearly hear Stacy really 'riding' on the music. So Goodman motioned to the bandsmen, and they remained 'quiet' while Jess Stacy played a longer, thrilling improvisation.

He made the first recordings under his name, a series of piano solos for Commodore in 1938 and 1939. Stacy left Goodman in 1939 and formed a band featuring sidemen Billy Butterfield (ts), Eddie Miller (ts) and Irving Fazola (c). Carlotta Dale was the vocalist. In 1940 he broke up the band and joined Bob Crosby, then rejoined Goodman in late 1942 for another 15 months. He then worked briefly for Horace Hedit and Tommy Dorsey before organizing another band in early 1945. This band featured Lee Wiley, who he had married in 1943, as vocalist.

In private correspondence, Ms. Billie Jo Harder-Downs (wife of trumpeter Ed Downs), has writen: "Also, you might be interested to have the actual names of the 1945 bandmembers of Jess Stacy's band (Chicago Band Box 10 weeks was their longest engagement)":
      Piano/Leader: Jess Stacy
      Vocals: Lee Wiley
      Trumpets: Ed Downs (Eddie), Sam Skolnik, & Buddy Bergman
      Sax: Bill Bushey, Bob (Prof) Canatsey, John Setar, Earl Bergman,
      Johnny Lewis and Eddie Martin
      Trombones: Wally Rich, Bert Sjolin and Lew Harker.
      Bass: Jumbo Watson.
      Drums: Mickey Spinelli

In addition to recording for RCA, Stacy also made some records for Commodore including Lee Wiley's blues interpretation of 'Down To Steamboat Tennessee" which also featured Mugsy Spanier on clarinet. This last Jess Stacy band lasted only one year after which he again rejoined Benny Goodman, this time for only a few months. He then worked as a soloist in New York before moving to California in 1947 where he lived for the remainder of his life. In 1963 he retired from music becoming a salesman for Max Factor cosmetics but occasionally was persuaded to play again. His piano can be heard on the soundtrack of the 1973 movie 'The Great Gatsby' and he made a successful appearance at the 1974 Newport Jazz Festival. A live recording was made of a 1973 New York club date for the Chiaroscuro label.
This entry for Jess Stacy was contributed by Mr. Robin Lenhart, and by Mr Chas. Steiger for the Overview.

      [ Jesse Stafford Orch. ]
Currently no information available.
The band was active in the mid - to late 1920's and did some recording. Jesse got his band training in the Herb Wiedoft Orchestra. Another leader, Clyde Lucas, came out of the Wiedoft band, too.

      [ Harold Stern Orch ]
Theme Song: "Now That It's All Over"
Currently no information available.

      [ Ernest Stevens Dance Orch. ]
b. Dec. 15, 1894, Elizabeth, New Jersey, USA; d. April 6, 1981, Montclair, New Jersey, USA. piano/arranger/leader
Early on, Stevens had studied with with Howard Case, and then with the well-known pipe organist Mark Andrews. During the period 1917 to 1919, he made piano rolls for the Aeolian, Piano Style, Gulbransen and Rose Valley companies. Then, in 1919, he was hired by Thomas Edison and began making test records for the Edison Studios in West Orange. From 1922 to 1924, Stevens was Thomas Alva Edison's personal pianist-arranger

Often recorded by the Edison company, he was heard as solo pianist, and as leader of his own Ernest Stevens Trio, (with Stevens seated at the piano. Photo: source unknown - believed from Thomas A. Edison Museum). He was also recorded as a quartet and also as the leader of the "Ernest Stevens Dance Orchestra." Many of his recordings for Edison were under pseudonyms.

Among his recordings are:
"Melancholy" The Ernest Stevens' Trio (1922)
"Tomorrow (I'll Be In My Dixie Home Again)" - The Ernest Stevens' Trio (1922)
"If I Had My Way Pretty Baby" - The Ernest Stevens' Trio (1922)
"Why?" - Ernest Stevens Trio
"When You Walked Out, Someone Else Walked Right In" Ernest Stevens Dance Orch. (1923)
"Dirty Hands Dirty Face!" - The Ernest Stevens' Dance Orchestra (1923)

It is interesting to note that among the other orchestras that recorded for the Edison company were:
Kaplan's Melodists
Green Brothers Novelty Band
Broadway Dance Orchestra
McNalpak's Dance Orchestra
Harry Rademan Orchestra
Club De Vingt Orchestra
Atlantic Dance Orchestra

      [ Leith Stevens Orch. ]
b. Sept. 13, 1909, Mount Moriah, MO, USa. d. July 23, 1970, Hollywood, CA, USA.
Please see the Leith Stevens entry on our Tunesmiths Database.

Known primarily as a film and tv composer/arranger, Stevens did appear as a (studio orchestra) leader on the albums:
      'Exploring the Unknown', RCA Victor LPM-1025 (Voices of Walter Schumann)
      'Jazz Themes for Cops and Robbers', Coral CRL 757283
There are also some Soundtrack albums of his work:
      Destination Moon, Omega 1003/3
      Hell to Eternity, Warwick LP 2030
      The Five Pennies, Dot DLP29500
      The Interns, Colpix CLP 427
      The James Dean Story, Capitol T881
      The Wild One, Decca 8349

      [ Eddie Stone Orch. ]
No Information available
Eddie Stone. Freddy Martin's veteran vocalist fronted a short lived group of nine men and three girl fiddlers.

      [ Justin Stone Orch ]
Presently No information available
Justin Stone. Put together a nineteen piece orchestra in 1943 and soon discovered there weren't many places that cold afford to pay so many musicians.

      [ Lew Stone Orch. ]
Please see our Lew Stone, entry in our British Bands Database.

      [ Axel Stordahl Orch. ]
b. Aug. 8, 1913 New York, NY, USA. d. Aug. 30, 1963 Encino, CA, USA.
Trombone; Conductor; Arranger, Composer
Currently No information available.
Brief Overview
1934-35 Free-lance trombone and arranging.
1936 Joined Tommy Dorsey band and became singer with vocal group. Also was the Lead Arranger for Dorsey at that time.
1942 Conducted on Frank Sinatra's first sessions for RCA Victor.
1943-49 became Sinatra's regular arranger/conductor.
1947-49 was with Sinatra on the Lucky Strike Hit Parade radio show.
1953 Conducted his first Capitol Records session.
He has also worked with Bing Crosby; Dean Martin; Dinah Shore; Eddie Fisher, and Doris Day.
He had an LP on Capitol along with his wife - June Hutton.
He had his own LPs on Decca; Capitol, and Dot.

      [ Ted Straeter Orch. ]
Theme Song: "The Most Beautiful Girl in the World"
Pianist. Ted's band mostly played the New York City Metroplex area hotels and smart supper clubs. The band had a long residency in the Persian Room of New York's Waldorf-Astoria Hotel. His theme song was a Rogers and Hart composition.

      [ Charlie Straight Orch. ]
Pianist.
Here's a photo of Charlie Straight's Orch.
An oldtime New Orleans Jazz group. Band was at the Rainbow Gardens, Chicago, in 1911, and in the 1920s as well. Listen to some tunes played by the Charlie Straight Orchestra. Two songs from 1923 are "Henpecked Blues", and listen to "Sweet Henry From Tennessee". From 1928, here's the Straight orchestra playing "Minor Gaff", all tunes have been digitally re-engineered by Mr Verne Buland.

Some background information on Straight.
Early on, Straight was the music director of the Imperial Piano Roll Company. It was Charlie Straight who first hired Roy Bargy to both write his own novelty and Ragtime music, and to edit popular songs of the day for publication by the Imperial company. Imperial used Bargy as their answer to QRS's new star of novelty piano, Zez Confrey. Even though Roy was hired to compete with Confrey, he in no way ever imitated him. Bargy's compositions never achieved the same popularity as Confrey's works, but they were fully equal in inventiveness.

In 1921, still working for Imperial, Straight introduced Roy to Edgar Benson, a booking agent who had a band (The Benson Orchestra of Chicago that was recording for the Victor Talking Machine Company. Benson hired Bargy as pianist, arranger and musical director of the dance orchestra. From leading the Benson Orchestra, Bargy went on to work with Isham Jones Orchestra and with the Paul Whiteman Orchestra.

      [ Benny Strong Orch. ]
Sobriquet: "The young man with the old songs."
Theme Songs:
Early on: "That Old Gang of Mine"
Later on: "That Certain Party"
Benny became a vaudeville singer -while still a very young teenager, as a result of his singing at a Chicago political convention. Paul Ashe heard him on stage, and brought Benny into his Oriental Theater show. However, upon reaching puberty, Benny's voice changed and that was the end of his singing career. He then studied drum playing and tap dancing. (Parenthetically, the two regimens - drums and taps - go well together. Both involve a good sense of rhythm. Fred Astaire is the one example that comes to mind, of a man who tap danced and played drums.)

Strong found success when, in 1938, he launched his own band at Louisville, Kentucky's 'The Brown Hotel'. The three year engagement, that also included remote radio broadcasts, helped him to establish his own musical style, and made him one the the mid-west's most popular bandleaders.

When WWII caused dis-locations in the music business, Strong began to hire sidemen who were in the 4F military draft category, making them exempt from army service, but unfortunately, Benny was not 4F, and he was drafted into the U.S.Army.

In 1946, Benny resumed his career with a new orchestra; one that was fully capable of putting on a floor show along with making music. Here's a mini gallery of photographs. One showing the 1949 Strong Orch., playing at the Claridge Hotel Roof, followed by a good photo of Benny at Hollywood's famed Cocoanut Grove, at the Ambassador Hotel. and, here's a Backstage Photo, showing Benny Strong seated, with Dave Garroway (wearing glasses), and Eddie Howard in light jacket and tie. (Other men not identified). Finally, here's the Benny Strong Orch., during their 1940's engagement at the Mark Hopkins Hotel in San Francisco, CA, USA. In private correspondence, trumpeter Ed Downs, and his wife Billie Jo, have advised that the
      (The saxist on the far right is Burgie Crandall, who later had his own band,
      in the back row (2nd from the right) is trumpet player Ed Downs, who is still very active
      in the Dayton FL, USA area (2004. & His CD entitled "That's All" is now heard on a
       regular basis on Daytona's #1 Big Band station, WROD, AM 1340. )
      ".... The trumpet player on the far right (2nd trumpet) is Harley Houchin. The drummer's name
      was Gil (something), and in the front row the sax player 2nd from the right (next to Burgie is
      Paul Dearborne. Then the fellow next to Benny Strong was their arranger "Bernie". Bernie
      played both trombone and violin, and was Benny's all round right hand man."

The orchestra's 'sweet style' went very well with the 'Golden Oldies' that were a mainstay of the band's book, although the orchestra did not neglect playing the newer music of the day. The band's longest engagement was at Chicago's Stevens Hotel. Strong was one of the pioneers who helped in adapting remote television pickups to ballrooms. One such success came in 1952, when his band was seen on 'live' television from the Trianon Ballroom in South Gate, California.

The big band era was well over by the late fifties, and Strong, like many leaders before him, disbanded. He became a manager for a San Francisco radio station, later moving to another station in Hollywood, in the early 1960's. In the mid-sixties he again formed an orchestra that played the local ballrooms in southern California.
The Big bands Database Plus thanks Mr Ed Downs (trumpet with the Strong Orch.) and his lovely wife Billie Jo for their help with this Benny Strong entry.

      [ The Bob Strong Orch. ]
b. Kansas City 1902 d.
Theme: "Tonal Color Serenade"
Bob graduated from Kansas State University in 1924, and by 1925 was playing lead alto sax with the Charlie Straight Orchestra at Chicago's Rendevouz Cafe. Bix Beiderbecke joined the orchestra for 4 weeks at that time. In time, Bob also worked in the 'studios' as musical director and conductor for Red Skelton's "Avalon Time" radio show, and also for Buddy Clark's "Treat Time" radio show.

In 1943, He formed his own band and, in 1944, they played at New York's prized summer spot, - the Glen Island Casino. Bob wrote and arranged the band's theme song, "Tonal Color Serenade". Unfortunately, Bob didn't leave us much on records because of the Musicians Union ban, at the time, on recording, but there are a couple of good CD's from radio transcriptions still available.

Charles Steiger remembers hearing this band for the first time during the summer of 1943 on a Saturday Afternoon radio broadcast from Chicago. It impressed him so much that for many Saturdays thereafter he - and much of Chicago - tuned in. The quality arrangements, the precision ensemble work, and the good soloists were all very impressive.

Those broadcasts were followed by the Les Elgart Orchestra. These were some of Elgart's first band work, and were much different sounding than his more commercially successful orchestra of later years. Elgart's theme at the time was "To The Future".
These notes on Bob Strong was kindly submitted by Mr Chas. Steiger.

      [ Sunset Royal Serenaders ]
They were originally from Florida and, during the late 1930s, were taken over by "Doc" Wheeler at the behest of Moe Gale, who was one of the owners of the Savoy Ballroom in New York City. Wheeler, an Indiana native, had an impressive musical background, including a stint as a trombonist with the legendary "Speed" Webb Band, and as a musical director for, among others, Ethel Waters.

After extensive rehearsal, the band came to New York to the Savoy Ballroom. Eventually, it went on tour with other attractions, including the Ink Spots.

The most infamous incident involving the Sunset Royal Serenaders occurred when they were playing at a theater in the Northeast opposite another theater which was featuring the Tommy Dorsey orchestra. Dorsey was impressed with the Serenaders' special arrangement of the Irving Berlin song "Marie", which included a vocal ensemble scat-singing behind the lead singer. When Wheeler wouldn't sell the arrangement to him, Dorsey sent his arrangers to the Serenaders' show every night until they had it copied. It went on to become a great hit for Dorsey, of course.

The Sunset Royals recorded a handful of titles for the Bluebird label, in about 1941 or '42, including, I believe "Sorghum Switch" and "Who Threw the Whiskey in the Well" (which later became a hit for "Mr. Blues" himself, Wynonnie Harris.
We thank Mr. David Brewer who graciously contributed this information on the Sunset Royal Serenaders.

      [ Don Swan Orch. ]
June 28, 1904, Manitowoc, WI, USA.
né: Wilbur Clyde Schwandt
After matriculating from the University of Chicago, where he studied music with such men as Emil Soderstrom and Sigvart Holland, Swan began his musical career working as an orchestrator/arranger with touring bands and even found work with comedian Bob Hope's touring show.

Starting in 1940, he began what was to become a 20 year career in Latin music when be began writing for the Xavier Cugat orchestra. Next to Cal Tjader, he would be one of the finest Anglo-Latin musician of the times, with many of the best known band leaders seeking his services when they were in need of a Latin number. He went on to write arrangements for the Skinnay Ennis and Freddie Martin orchestras. He also authored some books including 'Tango For The Spinet' and 'Cha Cha For The Hammond (organ)).

In 1957, Swan formed a band that worked in New York City and also appeared in Las Vegas, NV. He had produced a number of 'Latin' albums for Liberty Records that were popular, and the band was an answer to his new popularity with the general public. In the mid-1960's, Swan retired.
His Liberty Recordings:
All This and Cha Cha Too, Liberty LRP 3068
Hot Cha Cha, Liberty LST-7114
Latino!, Liberty LRP-3123
Mucho Cha Cha Cha, Liberty LRP-3001

      [ Wilbur C. Sweatman Orch. ]
b. Feb. 7, 1882, Brunswick, MO, USA. d. March 9, 1961, New York, NY, USA.
Overview:
Usually credited with having the first organized Dance Band (1912). He is now mainly remembered as the composer of"Boogie Rag", "Old Folks Rag", and "Down Home Rag"-(presented here as digitally re-engineered by Mr. Verne Buland).

Wilbur was taught piano by his sister (pianist) and was self taught on violin and clarinet. Early in his career, he played in a circus band as well as with "Mahara's Minstrels". in 1902, Sweatman was leading a dance band in Minneapolis, Minnesota, and, in either 1902 or perhaps 1903, made his first recordings on phonograph cylinders (now lost). He wrote a number of rags during this period. About 1910, found him working in Chicago, as musical director for various theatres. In 1912, He led the Wilbur C. Sweatman Band at the Pekin Theatre. Chicago, IL. In 1913, Sweatman moved to New York where he became close friends with Scott Joplin. Later, Joplin, in his will, named Sweatman as executor of his estate.

In New York, Sweatman enjoyed popularity with both White and Black audiences, and started issuing recordings in 1916 for Emerson Records, then for Pathé. In 1917, after the huge success of the Original Dixieland Jass Band in their Chicago gigs, Sweatman changed the sound and instrumentation of his band along the line of the early New Orleans jazz bands such as the Original Creole Orchestra and the Original Dixieland Jass Band. He became the first African-American to make recordings labeled as "Jass" and "Jazz".
Listen to this 1919 recording of Lucille" (digitally re-engineered by Mr. Verne Buland). Sweatman's orchestra was the leading Jazz band for Columbia Records until his popularity was surpassed by that of Ted Lewis.

1922, He had a quasi-symphonic orchestra in New York City. His young pianist, Edward Kennedy Ellington, later came to be known as the "Duke". Along with the very young 'Duke', Wilbur also brought up Toby Hardwicke and Sonny Greer from Washington, DC. And here's Wilbur's 1923 Orchestra --look at that line up.

One interesting, and ofter overlooked aspect of his career is that, in 1923, Sweatman opened the well known Harlem club 'Connie's Inn'. He continued playing in New York through the early 1940s, then concentrated his efforts on the music publishing business.

      [ Johnny Sparrow and His Bows and Arrows ]
Currently no information available.
In the mid-1940s, Sparrow played the saxophone in the Jay McShann, Lionel Hampton and Louis Armstrong orchestras, before striking out on his own in '49 when he formed his own band, 'Johnny Sparrow and His Bows and Arrows'. It was homebased in Philadelphia, PA, USA, and in 1952 began recording for the Gotham Records label. (Gotham was originally a New York city company but was moved Philadelphia in 1948.) His 1952 Gotham releases used some anonymous musicians, in groups that ranged from 3 piece rhythm to a full blown band with trombone, flute, baritone sax, vibraphone, and keyboards.

      [ Reb Spikes' Legion Club Fourty Fives ]
Currently no information available.
Here's a 1924 photo of Reb Spikes' Legion Club Fourty Fives. Lionel Hampton made his very first recording with this band on Nov. 1924, in Los Angeles, CA. USA. Listen to them playing "Mammy's Blues". in this digitally re-engineered version. (Mammy doesn't really sound all that "blue" to this writer.) Here's the same group playing "Sheffield Blues" on the same recording date in 1924.

      [ Alexander Szalay and his Tzigane Orch. ]
Currently no information available on this turn of the XX century band.
The New York Times (5 July 1907, pg.7) reported that the orchestra gave a concert of "popular and patriotic selections" at the Harlem Casino (ballroom).

      [ Russell Smith Orch. ]
b. 1890, Kentucky, USA. d. 1969, Indianapolis, IN. USA.
Smith is remembered today for having formed one of the very first Black orchestras in Indianapolis, IN. In 1911, his band became resident at Indianapolis' prestigious 'Severin Hotel', remaining there for three years. And, his sidemen weren't so bad either. They included Reginald DuValle, Eubie Blake, and Noble Sissle. Sissle went on to lead his own band (among a host of other things), while he and his good friend Eubie wrote the score for the Broadway musical "Shuffle Along". ) Smith later played in the road companies of both "Shuffle Along" and "Chocalate Dandies", the Sissle and Blake 1924 follow up to 'Shuffle Along'.

In1935, Smith returned to Indianapolis, and spent the remainder of his years there. During the 1940s and '50s, he had a "day job" as a janitor at a downtown bookstore. In the evenings he appeared at various local venues in small groups, - trios and quartets. Notably, in 1956, he played at the charter meeting of the Indianapolis Jazz Club.

One wonderful musician/writer, Richard Sudhalter, has written in his Carmichael biography "Stardust Melody", that "....Smith continued to lead bands in the 1930s while working days at the Linco Gas Company. He remained active in music, and died in 1953". (Smith's date of demise may possibly be inaccurate.)

It should also be noted that in his youth, Smith composed quite a few "Rags" including "Princess Rag" and "That Demon Rag." Both achieved only minor local success.