Gus Edwards, Composer/Vaudevillian
b. Hohensalza, Germany
d. Nov. 7, 1945, Los Angeles, CA, USA. 

After arriving in the U.S. with his family as a small child, Gus Edwards was raised in Brooklyn, New York. Attracted to the vaudeville theaters of Union Square, the boy spent a lot of his time there, taking in the sights and sounds. He also began to sing, and soon people began to take notice. One day in 1893, a performer named Lottie Gilson heard his pretty voice and decided to put him to work. She incorporated little Gus into her own act, initiating a trend whereby during the second chorus of a song, a handsome youngster would suddenly appear and chime in with the star vocalist. After a very short while, Gus found himself performing in this manner with a number of female entertainers.

Inevitably, a talent scout spotted the kid and set him up as part of a vaudeville act consisting of five singing lads dressed up as scruffy newsboys. Counseled by composer Paul Dresser, Gus was gradually introduced to the Tin Pan Alley publishing environment and given access to a piano in the offices of the firm of Howley, Haviland & Co. In 1898, Edwards' first song, "All I Want Is My Black Baby Back," was published by Mr. Howley. Soon, Edwards was performing it with the singing newsboy quintet. He concocted another minstrel show-styled number called "I Couldn't Stand to See My Baby Lose," then began to settle in as a composer of American popular songs for general use. In 1899, he wrote "The Singer and the Song." 1900 was the year of "All for a Man Whose God Was Gold," "I Just Can't Keep From Taking Hold of Things," and "I Can't Tell Why I Love You but I Do." In 1901, seeking to attract money, Edwards wrote a song called "I Don't Want Money."
It wasn't until 1905 that money began to visit Gus Edwards after the publication of his first masterpiece of modern American culture, "In My Merry Oldsmobile." Now nationally famous and flushed with success, Edwards opened his own publishing house. Hit songs followed at a rate of about one per year. "I Just Can't Make My Eyes Behave" was very popular in 1906. "School Days" was a smash hit in 1907, and "Merry Go Round Rag" took advantage of the ragtime vogue in 1908. 
"School Days," selling three million copies of sheet music, also led to the creation of a vaudeville show called School Boys And Girls. Edwards played the Teacher, and many of the young performers who were cast as his students went on to become famous. Groucho Marx, Eddie Cantor, George Jessel, Walter Winchell, Ray Bolger, Larry Adler, and the Duncan Sisters all started out as participants in this pedagogic routine. Edwards' last big success was that archetypal apple pie melody, "By the Light of the Silvery Moon," published in 1909.

After years of being alternately graced and abused by barbershop quartets across America, this song was truly immortalized for all of time by Fats Waller and His Deep Rhythm Boys in 1942. For many years, Gus Edwards continued to exert his influences in vaudeville, then in Hollywood. Poor health caused him to retire in 1939. That same year a movie was made based upon his life. The Star Maker had Bing Crosby cast as Edwards, and many of his old melodies were revived for use in the film. Gus himself lasted until November 7th, 1945.
The Gus Edwards Music Hall used to stand at the corner of Broadway and West 60th Street in New York, but has since been pulled down.
~ arwulf arwulf

Lucienne Boyer (18 August 1903 – 6 December 1983) was a French diseuse and singer, best known for her song "Parlez-moi d'amour". Her impresario was Bruno Coquatrix.

Early career
She was born as Émilienne-Henriette Boyer in the Montparnasse Quarter of Paris, France. Her melodious voice gave her the chance, while working as a part-time model, to sing in the cabarets of Montparnasse. An office position at a prominent Parisian theater opened the door for her and within a few years she was cast as Lucienne Boyer, singing in the major Parisian mu.

Popular success
In 1927, Boyer sang at a concert by the great star Félix Mayol where she was seen by the American impresario Lee Shubert who immediately offered her a contract to come to Broadway. Boyer spent nine months in New York City, returning to perform there and to South America numerous times throughout the 1930s. By 1933 she had made a large number of recordings for Columbia Records of France including her signature song, " Parlez-moi d'amour". Written by Jean Lenoir, the song won the first-ever Grand Prix du Disque of the Charles Cros Academy.

Personal life
Boyer lost her soldier father in World War I and had to go to work in a munitions factory to help her family get by. In 1939, she married the cabaret singer Jacques Pills of the very popular duo Pills et Tabet. Their daughter Jacqueline, born on 23 April 1941, followed in their footsteps, becoming a very successful singer who won the 1960 Eurovision Song Contest.
Throughout World War II, Boyer continued to perform in France, but for her Jewish husband, it was a very difficult time. Following the Allied Forces liberation of France, her cabaret career flourished and for another thirty years, she maintained a loyal following. At the age of 73, she sang with her daughter at the famous Paris Olympia and appeared on several French television shows.

She died in Paris, and was interred in the Cimetière de Bagneux in Montrouge, near Paris.

Lucienne Boyer  
Lucienne Boyer, a Singer - Popular in Paris in 1930's 
Lucienne Boyer Discography at Discogs
Lucienne Boyer
Lucienne Boyer - Biographie
Lucienne Boyer (1901-1983) - Find A Grave Memorial

William "Bill" James Apps
saxes/clarinet/bass clarinet/flute/piccolo
b. Wells, Kent-UK, d. April, 1993, London, UK.

Augustus "Zinky" Cohn, Piano
b. Oakland, CA, USA
d. April 26, 1952, Chicago, IL, USA.
Played with Roy Palmer 1928/Don Pasquall/Jimmy Noone 1929-31 / Erskine Tate 1932/Eddie South/Ethel Waters 1944
Zinky Cohn was a pianist associated with the late-'20s and '30s Chicago scene, especially the groups of clarinetist Jimmie Noone. Although playing jazz has never been a sedate enterprise, this era was certainly among the wildest in the history of this genre. One example of the type of playing experiences available to Cohn was Noone's Apex Club Orchestra. The clarinetist fronted this band at the old Apex Club on the Southside from 1928 to 1930, until Prohibition came along and the bar was raided by federal agents for selling alcohol. This group played in the recording studio as well as in speakeasies, sometimes under the name of Jimmie Noone's Blue Melody Boys, and was prolific in front of the studio microphones.

Between 1929 and 1934, Cohn recorded frequently with Noone, including many sides for the Vocalion label. As a result, the large Noone discography is thick with Cohn's piano work. The pianist scribbled out the tune "Apex Blues" in honor of this hooch-soaked gig and it became one of Noone's most-requested items as well as a swing jazz standard, but is more often credited to Noone and the much more famous jazz pianist Earl Hines, as well as a variety of others. Overlapping with his stint with Noone were Cohn's own efforts as a leader, including a traveling band featuring the interesting tenor saxophonist Leon Washington. The pianist also worked with Frankie Franco & His Louisianians, appearing on the classic recording of "Somebody Stole My Gal" done for the Mellotone label in 1930. Like most Chicago pianists of this era, he dabbled in blues, recording with classic female vocalist Georgia White. By the late '30s, Cohn had gravitated toward more administrative duties, taking over the head of the Chicago musician's union local. He continued to play various local jobs, although some of these engagements were lackluster, despite his inevitable rousing versions of "Apex Blues." Scholars in the field of Jewish jazz can take note of this player; like his namesake, tenor saxophonist Al Cohn, he descends from one of the so-called 12 tribes. ~ Eugene Chadbourne
Zinky Cohn - Wikipedia

Charlie Kunz, Leader/piano
b. Allentown, PA, USA
d. March 17. 1957, London, UK
Charles Kunz (August 18, 1896March 16, 1958) was an American musician.
Charlie Kunz was born in Allentown, Pennsylvania in 1896, the only son of a master baker who played the French horn. He made his debut aged six and made his first appearance as a prodigy aged seven. During the Great War he led his own resident band, while working in a munitions factory.
He came to England in 1922 as a pianist in a small dance band. He was to remain here until his death from a heart attack in 1958. He is buried in Streatham Vale cemetery. He was such a distinctive and popular pianist that he abandoned his orchestra to concentrate on his piano playing both at Music Hall venues and on the BBC. Two of Britain's most famous female vocalists were with his orchestra in the 1930s, Dame Vera Lynn and Welsh songstress Dorothy Squires. His most well known crooner was George Barclay.
Charlie was the pianist in a dance band which was led by drummer, Ed Krick. The band came to London in 1921 to play a residency in the London Trocadero. The band returned without Charlie to Pennsylvania after a very successful run at the 'Troc' and until 1998, still got together for sessions for retirement homes, renamed the band 'The B Flats'.
His debut as a soloist came in 1934 at the Holborn Empire. The same year saw the beginning of what was to become a continuous output of solo records of "Charlie Kunz Medleys".
Charlie's piano style remains unique, a relaxed flowing interpretation of popular melodies played with subtle soft and loud accents, a style which he called "melody and rhythm with expression".
Otto Harbach, composer
b. Salt Lake City, UT, USA
d. Jan. 24, 1963, New York, NY, USA.
(Among his hit songs are "Yesterdays", "Smoke Gets In Your Eyes", and "Love Nest").
Harbach was born in Salt Lake City, Utah to Danish immigrant parents Adolph Hauerbach and his wife Sena Olsen, and attended the Salt Lake Collegiate Institute, transferring to Knox College, inGalesburg, Illinois, where he was a friend of Carl Sandburg, joined Phi Gamma Delta Fraternity, and graduated in 1895. He obtained his masters degree in English from Whitman College in Walla Walla, Washington, and attended Columbia University in New York with the goal of becoming an English professor. In the early 1900s, complaining of eye difficulties making prolonged reading uncomfortable, he became a newspaper reporter. He also worked at various advertising agencies.
He collaborated as lyricist or librettist with Karl Hoschna, Rudolf Friml, Oscar Hammerstein II, Jerome Kern, Louis Hirsch, Herbert Stothart, Vincent Youmans, George Gershwin, and Sigmund Romberg. He was a charter member of ASCAP in 1914, serving as its director (1920-1963), vice president (1936-1940), and finally president (1950-1953).
He was lyricist for many songs now in the standard repertoire, including "Smoke Gets in Your Eyes," "Yesterdays," "Indian Love Call," "Cuddle Up a Little Closer," "One Alone," "The Night Was Made For Love," "I Won't Dance" and "She Didn't Say Yes".
Harbach, an inductee of the Songwriter's Hall of Fame, died in New York City.

Hank Penny, 'Western Swing' vocals/leader/guitar
b. Birmingham, AL, USA. d. April 17, 1992, USA.
né: "Herbert Clayton Penny.
Vivian Weaver, piano/organ
b. Cleveland, OH, USA.
Played with Noble Sissle

Notable Events Occurring
On This Date Include:

Paul Mares (June 15, 1900 – August 18, 1949), was an American early dixieland jazz cornet & trumpet player, and leader of the New Orleans Rhythm Kings.

Mares was born in New Orleans. His father, Joseph E. Mares, played cornet with the military band at the New Orleans lakefront and ran a fur and hide business.

Like many New Orleans cornetists of his generation, Joe Mares's main influence was "King" Joe Oliver.

About 1919 cornetist Abbie Brunies was offered a job playing in Chicago, and passed the offer on to Mares. (Brunies thought his New Orleans position of doubling driving a taxi-cab and playing music was more secure than prospects in Chicago.)

Mares established himself as a respected band leader over a group of wild and strong willed musicians, as The New Orleans Rhythm Kings (N.O.R.K.) became one of the best regarded bands in Chicago in the early 1920s.

In late 1924 Mares returned to New Orleans. He decided to play music on the side while taking over the running of his family fur & hide business. He ran the business well and with his prosperity purchased 3 homes for himself and his relatives in New Orleans' new suburb of Metairie, Louisiana. Mares's Metairie home was the site of a legendary jam-session in 1929 where Bix Beiderbecke and the other jazz playing members of the Paul Whiteman Orchestra jammed with the local New Orleans jazz musicians.

Mares also ran a restaurant in New Orleans called "The Chicago Bar-B-Q". In the early 1930s he returned to Chicago where he opened up his "New Orleans Bar-B-Q" there. The "P.M. New Orleans Bar-B-Q" became a gathering place for Chicago jazz musicians and home to numerous jam sessions, which Mares occasionally joined in. He died on this day.
Radio Station W1X0J, (later WGTR), in Boston, MA, received America's first FM radio construction permit. The station went on the air two years later.

Jazz drummer Gene Krupa, a jazz and big band legend
played for the last time with members of the original
Benny Goodman Quartet. Krupa died October 16, 1973.
Songs Recorded/Released
On This Date Include:


Mamie Smith and her Jazz Band - Sax-O-Phoney Blues
  • Sweet Man O'Mine

Edith Wilson and Johnny Dunn's Jazz Hounds - What Do You Care (What I Do)


Edna Hicks

Waring's Pennsylvanians

  • Her Beaus Are Only Rainbows

Clarence Williams' Jazz Kings - You'll Long For Me (When The Cold Winds Blow)
  • I'm Going Back To Bottomland

Jessie Stafford and his Orchestra
  • How's Your Uncle?

Annette Hanshaw - Love Me Tonight


Fletcher Henderson Orchestra - Can You Take It?


Mary Johnson

Louis Armstrong With The Polynesians

Just like a flower I am fading away
The doctor call to see me most every day
But he don't do me no good, why?
Because I'm lonesome for you
And if you care for me
Then you will listen to my plea
Oh, daddy, look what you doin', look what you doin'
Oh, daddy, you with your foolin', think what you're losin'
All the little love I gave you
Is goin' to make you feel so awfully blue
When you miss me and long to kiss me
You'll curse the day that you ever quit me
Oh, daddy, think when you're all alone
You'll get so lonely just wait and see
But there will be someone else makin' love to me
Then daddy, daddy, you won't have no mama at all
Oh, daddy, look what you doin', look what you doin'
Oh, daddy, you and your foolin', think what you losin'
All the little love I gave you
Is goin' to make me feel so awfully blue
When you miss me, and long to kiss me
You'll curse the day that you ever quit me
Oh, daddy, think when you're all alone
You know that you are getting old
You'll miss the way I baked your jelly roll
And daddy, daddy, you won't have no mama at all

(Bing Crosby / Ned Washington / Victor Young)
Annette Hanshaw - 1932
Oh, what a night for romancing,
Stars in the sky above
This is our chance for sweet romance
Let’s make this a night of love
Here we are together, the moon is hanging low
There’s magic in its silvery light
It seems to say the time is right
Love me tonight.
Life is so uncertain and no one seems to know
How long we have to linger on
Tomorrow we may both be gone
Love me tonight
Oh let me feel your arms
And let me feel your kiss
Then if this great big world must end
Oh let it end like this
My lips are yours forever, my heart is in your hand
My love is yours to have, to hold
Don’t wait until the moon is old
Love me tonight.
(Musical Break)
Oh let me feel your arms
And let me feel your kiss
Then if this great big world must end
Oh let it end like this
My lips are yours forever, my heart is in your hand
My love is yours to have, to hold
Don’t wait until the moon is old
Love me tonight.

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