Frank Black, Bandleader
b. Philadelphia, PA, USA. d.

Joe Britton, trombone
b. Birmingham, AL, USA. 

d. 1972.
(Worked with "Sister" Rosetta Tharp.)
A sweet home Alabama fellow, this trombonist was among the second generation of professional American jazz musicians and also straddled the worlds of blues and R&B, poking the long slide of his trombone into any combo that was lucky enough to have him. His credits are lengthy following his student days under the guidance of Fess Whatley. Classic blues singer Bessie Smith took him on the road from 1924 through 1926 as a member of her backing group, at first the Fred Longshaw Orchestra and then the Bill Woods Orchestra.
The next year, he jumped to an outfit called Frank Bunch & the Fuzzy Wuzzies, most likely the most obscure name in the list of the groups he played for. He settled in New York in the '30s and fastened a grip on that city's fast-moving and faster-growing jazz scene, working with Ellsworth Reynold's Bostonians, Teddy Hill, the band of classic jazz drummer Kaiser Marshall, Charlie Johnson, Edgar Hayes, and the Vernon Andrade Orchestra. Positions with bigger jazz names were his in the '40s: he worked with saxophonist and composer Benny Carter from 1940-1941 and modern trumpet maestro Dizzy Gillespie, while at the same time collaborating on older styles of jazz. It was his chance to finally work with Jelly Roll Morton, with whom he also gigged and recorded in that decade, and Kansas City jazz pioneer Jay McShann. He also worked with Lucky Millinder for three years beginning in 1942.
Blues shouter Wynonie Harris was also a frequent employer, and although this was not always a gig that provided a trombonist with a lot of solo space, Britton shows up on a half-dozen of Harris' raunchy R&B records, not to mention compact disc box set reissues. He also plays in a similar vein on recordings by Sister Rosetta Tharpe. Britton also performed and recorded with the great jazz pianist Earl Hines. The trombonist dabbled into orchestra arrangements and his work in this field is spotlighted on the album Breaks, Blues and Boogies by fellow bone-man Vic Dickenson. Britton retired from full-time professional playing in the '50s, but gigged off and on into the '60s, including a regular stint in a band led by saxophonist Wesley Fagan.

~ Eugene Chadbourne
Frank Brunch and his Fuzzy Wuzzies
Jelly Roll Morton's Six/Seven


Harry Carroll, composer
d. 1962, Mt. Carmel, PA, USA. 
Harry Carroll, a famous American songwriter, pianist and composer, was born on November 28, 1892 in Atlantic City and died December 26, 1962 in Mt. Carmel, Pennsylvania. He taught himself how to play the piano and began playing in movie houses before he finished grade school.

After he graduated from high school, he moved to New York City where he worked as an arranger in Tin Pan Alley, and at night entertained at the Garden Café and accompanied various vaudeville shows.
In 1912, Carroll was hired by the Schubert brothers' Winter Garden productions as a contract writer. He worked with Arthur Fields to produce his first hit, On the Mississippi. He wrote several Broadway stage scores including some popular favorites: I'm Always Chasing Rainbows (based on a section of Fantaisie-Impromptu by Frédéric Chopin), By The Beautiful Sea and The Trail Of The Lonesome Pine.
Harry married Anna Wheaton and together they had one child. Later he moved west to LA., and became involved in early movies. He served as the director of the ASCPA from 1914-1917. And in 1970, eight years after his death, Carroll was inducted into the Songwriters Hall of Fame.


Louis Hirsch, composer

b. New York, NY, USa
d. May 13, 1924, New York, NY, USA. 

Hirsch was born Louis Achille Hirsch in New York City. In his senior year at the City College of New York, Hirsch traveled to Europe to study piano at Berlin's Stern Conservatory, with pianist Rafael Joseffy. He returned to the U.S. in 1906 and began working as a staff pianist in the Tin Pan Alley publishing houses of Gus Edwards, and Shapiro-Bernstein. He also began to write some of his own music.
Hirsch's first assignment was writing music for the Lew Dockstader's Minstrels. Soon, some of his melodies were interpolated into Broadway shows, including The Gay White Way, Miss Innocence (starring Anna Held), and The Girl and the Wizard. In 1910, He Came From Milwaukee was Hirsch's first full score. His Revue of Revues (1911) introduced French star Gaby Deslys to America. He subsequently wrote the music to many songs that Deslys made popular, including "Gaby Glide", "Come Dance With Me", and "When You Hear Love's Hello". One of his best jazz tunes is "It's Getting Very Dark on Old Broadway". His first major success was Vera Violetta (1911), which made Al Jolson a star. For the Schuberts in 1912 and 1913, he contributed music to The Whirl of Society and The Passing Show (both starring Jose Collins).
Hirsch was one of the nine founders of ASCAP in 1914 and an ASCAP director between 1917 and 1924. During World War I, he contributed songs to four editions of The Ziegfeld Follies, including "Sweet Kentucky Lady" and "Hello Frisco!".

He collaborated with Otto Harbach as lyricist on the musical Going Up (1917), Mary (1920), including "Love Nest", his most successful song, which later became the Burns and Allen radio show theme. He also wrote music for The Rainbow Girl, Oh, My Dear, and See Saw, among others. Hirsch also conceived many of the storylines and concepts in his musicals. 
In 1921, he contributed to the Broadway show The O'Brien Girl and then the 1922 and 1923 editions of The Greenwich Village Follies.
Other popular Hirsch songs include include "Neath the Southern Moon" (also titled "'Neath the South Sea Moon"), "The Tickle Toe", "The Gaby Glide", "Always Together", "Garden of Your Dreams", "Hold Me in Your Loving Arms", "Going Up", "My Sumurum Girl", "Mary", "Love Is Like a Red Red Rose", "When I Found You", "Beautiful Island of Girls", "My Rambler Rose", "The Love Nest", "I Am Thinking of You", and "Annabel Lee".
On May 27, 1920, Hirsch sued the New York Yankees for $100‚000 because of an incident at the Yankee game at the Polo Grounds on the 24th. To avoid sitting next to a cigar smoker‚ Hirsch switched seats with his brother. An usher informed him it was against the rules to shift seats and ordered the two brothers to switch back. Hirsch refused and was forcibly ejected from the stands. The composer died in New York City of pneumonia at the age of 36.
Songwriters Hall of Fame - Notable Writers - Louis Hirsch

Ray Leveen, songwriter
b. Newark, NJ, USA.
Worked with Louis Jordan Orch.

Roy Lopez, cornet
b. New Orleans, LA, USA.
d. April 27, 1970, Los Angeles, CA, USA.

Richard Thomas "Dick" Vance, Trumpet
b. Mayfield, KY, USA. 

d. 1985
Dick Vance was a fine trumpeter who unfortunately did not solo on record all that often. He grew up in Cleveland and, after a short period playing violin, Vance switched to trumpet. He worked in J.Frank Terry's band in Cleveland and then was with Lil Armstrong's little-known orchestra (1934-35). After moving to New York, Vance played with Willie Bryant, Kaiser Marshall and then more importantly Fletcher Henderson's Orchestra (1936-38) where he was the lead trumpeter and an occasional vocalist. Vance joined Chick Webb's Big Band in 1939, staying with the organization for a couple years after Ella Fitzgerald took over (after Webb's passing), arranging many of the charts.
Vance then had stints with Charlie Barnet, Don Redman, Eddie Heywood's Sextet (1944-45), Ben Webster and others. He attended Juilliard Institute during 1944-47, played in pit orchestras for decades and Vance contributed arrangements to many orchestras including those of Duke Ellington, Harry James, Cab Calloway and Earl Hines. He was also part of Fletcher Henderson's last Sextet (1950), was with Duke Ellington during 1951-52 (arranging most of the music for the album Ellington '55), toured with Don Redman (1953) and played frequently in the Savoy Ballroom in the 1950's. Later in his life he toured Europe with Eddie Barefield in 1969. Dick Vance led two obscure albums in his career, one apiece for Sue (1962) and Strand (from the mid-60's).

~ Scott Yanow


George Godfrey Wettling, Drums

b. Topeka, KS, USA.
d. June 6, 1968, New York, NY, USA.
Played with Bunny Berigan, Eddie Condon, 

Benny Goodman; Jack Hylton; Red Norvo; 
Artie Shaw; Paul Whiteman.
One of the great Dixieland drummers, George Wettling's ability to alertly change patterns behind each soloist usually inspired the other musicians to play their best. He was part of the Chicago jazz scene of the 1920s (where he moved with his family in 1921), and Baby Dodds was his main idol. 

Wettling, who recorded with Paul Mares in the mid-'30s, was still mostly an unknown when he came to New York in 1935, playing briefly with Jack Hylton Orchestra. He did a fine job with Artie Shaw's 1936 big band, as well as the orchestras of Bunny Berigan (1937), Red Norvo, Paul Whiteman (1938-1940), and Muggsy Spanier. However, his most rewarding work was done with small groups, notably his sessions in 1938 with a trio also including Bud Freeman and Jess Stacy; he also recorded with Jimmy McPartland, Wingy Manone, and Eddie Condon.
The Condon connection was most significant, for after stints with Joe Marsala and Ben Pollack, Wettling became a regular with Condon on his Town Hall broadcasts and at his club. Wettling's "day job" was as a staff musician at ABC (1943-1952). He worked off and on with Condon to the end of his life and also gained some notoriety for his abilities as an artist (some of his work appeared on album jackets) and as an occasional jazz critic for Downbeat and Playboy. He played with virtually everyone in the Chicago jazz field, as well as Benny Goodman, Billie Holiday, Sidney Bechet, and even Chico Marx. Although he did not lead bands on a regular basis for long (due to excessive alcohol consumption), George Wettling led excellent Dixieland dates for Decca (1940), Black & White (1944), Keynote, Stycon, Columbia (1951), JSP, Kapp, and Stereocraft (1958).
~ Scott Yanow
Notable Events Occurring
On This Date Include:


Broadcasting live from Nashville, Tennessee, a radio program later called "the Grand Ole Opry", but originally named the 'Barn Dance' (after a Chicago radio program called the 'National Barn Dance' that had begun broadcasting the previous year) was heard for the first time. The show would become one of the longest-lived and most popular showcases for western music.

dick powell
Songs Recorded/Released

On This Date Include:


Ted Lewis and his Band
  • Broadway Rose


Lee Morse - Golden Dream Girl  - (Lee Morse)

Sippie Wallace - Baby I Can't Use You No More

Sippie Wallace - Trouble Everywhere I Roam


    Six Black Diamonds - Charleston Baby


    Roger Wolfe Kahn and his Orchestra - A Room With A View 

    Roger Wolfe Kahn and his Orchestra - Dance, Little Lady

      Johnny Hamp's Kentucky Serenaders - Avalon Town

      Johnny Hamp's Kentucky Serenaders - Please Let Me Dream In Your Arms

    • Mia Bella Rosa

    • 1930


      Three Little Words

      Three little words, 

      oh what I’d give for 
      that wonderful phrase,
      To hear those 

      three little words, 
      that’s all I’d live for 
      the rest of my days.

      And what I feel in my heart, 

      they tell sincerely.
      No other words 

      can tell it half so clearly.

      Three little words, 

      eight little letters 
      which simply mean 
      I love you.

      brought to you by...   
      Special Thanks To:
      Scott Yanow, 
      And all who have 
      provided content for this site.





      Eddie South, Violin 
      b. Louisiana, MO, USA.
      d. April 25, 1962, Chicago, IL, USA.
      Intensive study of music from age 10, then at Chicago College of Music, and in Paris, and Budapest. He may have been best musician to play authentic jazz violin (although other violinists such as Joe Venuti, Stephane Grappelli, and Stuff Smith wasn't slouches either). A very happy-go-lucky personality made him a favorite wherever he went.

      One of the top violinists of the pre-bop era, Eddie South was a brilliant technician who, were it not for the universal racism of the time, would probably have been a top classical violinist. A child prodigy, South graduated from the Chicago Music College. Since classical positions were not open to black violinists in the 1920s, South learned to play jazz (helped out by Darnell Howard).

      In the early to mid-'20s, he worked in Chicago with Jimmy Wade's Syncopators, Charles Elgar, and Erskine Tate. South's 1928 visit to Europe (where he studied at the Paris Conservatoire) made a deep impression on the violinist, particularly his visit to Budapest; later on, he would often utilize gypsy melodies as a basis for jazz improvising.

      Mr. and Mrs. Eddie South, Chicago c.1933

      In 1931, South returned to Chicago, where his regular band included the young bassist Milt Hinton. In 1937, he visited Paris and had the opportunity to record with Django Reinhardt and Stephane Grappelli. However, South never really had a major breakthrough commercially in his career. He did work on radio and television, but spent most of his life in relative obscurity, gigging in New York, Los Angeles, and especially Chicago. Eddie South's early recordings (covering 1927-1941) have been reissued on a pair of Classics CDs. In later years he recorded for Chess and Mercury, and also made a final set released by Trip.~ Scott Yanow

      Johnny Aladdin, leader 
      b. Monessen, PA, USA.
      d. Jan. 14, 1987 Hilton Head, SC, USA.


      Joe Bishop, Trumpet/Flugelhorn 
      b. Monticello, AR, USA
      d. May 12, 1976, Houston, TX, USA.
      In the late 1920s, after graduating from Hendrix College, he began playing tuba with the Louisiana Ramblers; then mellophone (hybrid of the tuba and the euphonium) with Mart Britt's Band. Back to the Tuba with the Al Katz, Austin Wylie, and Isham Jones bands. Also played with Cow Cow Davenport, and Jimmy Gordon. In 1931, it was the arrangements by Bishop and Gordon Jenkins that gave the Isham Jones band their excellent ensemble sound. With the disbanding of the Isham Jones band, clarinetist Woody Herman used the nucleus to form his own first orchestra. (Musicians referred to the orchestra as "the Isham Jones Alumni Band".)
      Bishop was Woody's chief arranger, and arranged (and co-wrote with Herman) Woody's all-time favorite, "Woodchopper's Ball." Other Bishop compositions and arrangements include "Be Not Disencouraged", "Ain't It Just Too Bad", "Out of Space", "Blue Prelude", "Blue Evening", and "Blue Flame," which was used as the Herman band theme in the early 1940's.

      Cristopher "Black Happy" Goldston, drums 
      b. New Orleans, LA, USA.
      d. March 17, 1968, New Orleans, LA, USA.
      Played with Papa Celestin; Crescent Orchestra; Octave Crosby; Golden Leaf Band; Bill Matthews; Onward Brass Band; Tulane Orchestra.
      Ray Herbeck, Leader/Sax 
      d. Jan. 17, 1989.
      Both Ray and his vocalist/wife - Lorraine Benson - are buried in the Veteran's Admin. Cemetary in Phoenix, AZ, USA.
      Over his career, Ray and his various bands recorded over 200 sides for Okeh, Vocalion, and Columbia. His son, Ray Jr., still has the original "book" and has produced a "Live" CD with the 1943 band including his mother Lorraine Benson singing.
      Formed in Los Angeles, California, USA, in 1935, the Ray Herbeck Orchestra soon relocated to Chicago to pursue the lucrative Midwest one-nighter circuit. With their theme song, ‘Romance’, Herbeck’s was one of the most commercially orientated orchestras of the day. Having previously worked with Leighton Noble, Herbeck recruited musicians George Van, Whitney Boyd, George Winslow, Benny Stabler, Bob McReynolds, Jay Stanley, James Baker, Jim Hefit, Bunny Rang, Art Skolnick, Louis Math, Tom Clark, Al Ciola, Chi Chi Crozza, Bob Hartzell and Leo Benson, alongside vocalists Betty Benson, Hal Munbar, Kirby Brooks, Ray Olson, Lorraine Benson, Roy Cordell and Irene Wilson. Herbeck later married his vocalist Lorraine Benson (b. 19 April 1920, Pocatello, Idaho, USA, d. 10 August 1996, San Dimas, California, USA). With a supporting tag of ‘Ray Herbeck And His Music With Romance’, they offered a steady stream of sentimental numbers cultivated to the specific requirements of slow dancing, including songs such as ‘Time Stood Still’. 

      The 40s saw the band take engagements at famous hotels such as the Peabody, New Yorker, Muehlbach and Brown Palace, and there were few major ballrooms who did not book the band during their extensive tours. With recordings issued by Vocalion Records, Columbia Records and OKeh Records among many others, further exposure arrived during World War II with Herbeck’s band making over 300 USO camp show appearances to entertain the forces. They also appeared several times on Coca Cola’s Spotlight Bands radio show during this time. After the war Herbeck returned to California to play a year’s residency at the Riverside Hotel in Reno, then two years at the Last Frontier in Las Vegas. But by the early 50s he had given up music to concentrate on real estate businesses in California and Phoenix. 


      John "Papa John" Joseph 

      bass/clarinet/guitar/tenor sax
      b. St. James Parish, LA, USA.
      d. Jan. 22, 1965, New Orleans, LA, USA. Papa John Joseph was an early New Orleans jazz string bass player.
      Joseph was born in St. James Parish, Louisiana and moved to New Orleans by 1906.
      He played with Buddy Bolden early on. Somewhat later he played in the Claiborne Williams band and the Original Tuxedo Orchestra.
      For years in mid life he worked professionally as a barber playing music occasionally on the side. He returned to music full time in his later years. He was a regular at Preservation Hall until he famously dropped dead there after finishing a rousing version of When the Saints Go Marching In.


      Muzzy Marcellino, leader/violin 
      d. 1997
      If you've ever noticed the haunting whistling featured in "The Good, the Bad, and the Ugly," the theme composed by Ennio Morricone for the Sergio Leone spaghetti Western of the same name starring Clint Eastwood, then you've heard Muzzy Marcellino's famous whistle at its best. He also whistled The High and the Mighty theme, and his mellifluous pucker also is featured on Esquivel's Latin-esque album. Hollywood and advertising agencies routinely called on Marcellino's distinctive talent for whistling throughout the 1950s and into the 1960s. Even Disneyland got in on the act, using the famous whistler's birdcalls for its Tiki Room. Recorded whistles were not Marcellino's only connection to the music world. During the early '30s, he lent his talents to the Lofner-Harris Orchestra and played the Hotel St. Francis in San Francisco.

      He also worked with other ensembles, among them the Ted Fio Rito Orchestra in 1935. The gig with Fio Rito led to appearances in a few films, including Twenty Million Sweethearts and The Sweetheart of Sigma Chi. Toward the end of the decade, Marcellino led his own ensemble, accompanied by vocalist Gloria De Haven, who later moved on to a successful film career. He employed his talent for whistling only infrequently with his band. After a decade, Marcellino disbanded his group of musicians. He worked for a time on radio with Dick Powell before Art Linkletter hired him to lead an ensemble on House Party, Linkletter's television program. Marcellino held the position of Linkletter's musical director for almost two decades, leaving in 1969. Capitol issued a recording of Marcellino from his House Party years. He also co-wrote several numbers for the Mickey Mouse Club with Jimmy Dodd.
      ~ Linda Seida

      Liza Morrow, vocalist 
      b. New York (Brooklyn), NY, USA.
      Married to Dale McMickle.
      Played with actor/cellist Morrie Amsterdam; Bobby Hackett; Robert Q. Lewis; Mitchell Ayers; Eddie Condon; Benny Goodman; George Paxton; and was heard on NBC & CBS radio programs.

      "Mr. Q" piano/harmonica 
      b. Winston Salem, NC, USA.
      Early on, he played piano (self taught), and later, after migrating to Harlem (New York), he got a job playing harmonica with the Savoy Sultans, then the house band (1937-'46,) at the famed Savoy ballroom. (Leader was reedman Al Cooper (né: Lofton Alphonso Cooper, 1911-'81), his half-brother bassist Grachan Moncur (b. Sept. 2, 1915), Rudy Williams on reeds (b 1909, Newark NJ, USA; d Sept. 1954, and drummer Razz Mitchell, who used a riveted Chinese sizzle cymbal.)

      Warren Vache, Sr., acoustic bass 
      b. New York (Brooklyn), NY, USA.
      d. Feb. 4, 2005, Rahway, NJ, USA
      In 1997, Warren and his wife Madeline (née: Sohl) celebrated their 'Golden Wedding Anniversary'. The couple had two sons, flügelhorn and cornetist Warren Jr., and clarinetist Allan Robert, both professional Jazz musicians. For many years, Vache led his own Jazz band, "The Syncopatin' Six."

      * Rest In Peace Evelyn Preer *

      Notable Events Occurring
      On This Date Include:


      Evelyn Preer, born Evelyn Jarvis (July 16, 1896 – November 27, 1932), was a pioneering African-American stage and screen actress and blues singer of the 1910s through the early 1930s. Evelyn was known within the black community as "The First Lady of the Screen."
      She was the first black actress to earn celebrity and popularity. She appeared in ground-breaking films and stage productions, such as the first play by a black playwright to be produced on Broadway, and the first New York-style production with a black cast in California in 1928, in a revival of a play adapted from Somerset Maugham's short story, Rain.

      Preer, Evelyn (1896-1932)

      Evelyn Preer -From Wikipedia
      Evelyn Preer, pioneer Black actor in race film and theater
      Silent Era : People : Actresses : Evelyn Preer
      Evelyn Jarvis Preer (1896 - 1932) - Find A Grave Memorial

      "You Made Me Love You" was recorded by Louis 'Satchmo' Armstrong. (Okeh Records) 

      Songs Recorded/Released
      On This Date Include:


      Fletcher Henderson Orchestra - Shake Your Feet- (Dave Stamper) from "Ziegfeld Follies of 1923"


      Roger Wolfe Kahn and his Hotel Biltmore Orchestra - Down And Out Blues - (W. Earthman Farrell / Arthur Sizemore) “Lucky Boy”
      • Lucky Boy - (from the Musical Comedy "Cocoanuts")


      Five Harmaniacs
      • Carolina Bound

      Louis Armstrong and his Hot Five


      Coon Sanders Nighthawks Orchestra - Smilin' Skies

      Coon Sanders Nighthawks Orchestra - Who Wouldn't Be Jealous Of You?


        Annette Hanshaw
        Annette Hanshaw - I Have To Have You

        Annette Hanshaw - When I'm Housekeeping For You - (from "The Battle Of Paris")


          Ben Selvin and his Orchestra - Bend Down, Sister
          "Lucky Boy" 
          ~Irving Berlin

          Your smiling face is an open book, young man
          We know that look, young man
          You must be oh, so happy
          It's just a case of love that took, young man
          There are quite a few who envy you

          Lucky boy, she's a beautiful thing
          Lucky boy, will you give her a ring

          Lucky boy, we suppose in the Spring
          You will take your pride and joy

          On a train and her leather suitcase
          Will contain bits of satin and lace

          It's as plain as the nose on your face
          How we envy you, lucky boy

          I must confess that you pave the way for me
          You really say for me
          The things I want to tell you
          You'll never guess what a lucky day for me
          When I found that she had chosen me

          Lucky boy, she's a beautiful thing
          Lucky boy, I'm as proud as a king

          Lucky boy, when I give her the ring
          Can't you see me jump with joy

          With a cheer and a "whatta we care"
          We'll appear in a bungalow where

          In a year, maybe three of us there
          How we envy you, lucky boy

          brought to you by...   
          Special Thanks To:
          And all who have provided content for this site