Tuesday

AUGUST 10TH


HAPPY BIRTHDAY GERALDO!



BIRTHDAYS



[geraldo001.jpg]
1903
Geraldo, Leader
b. No. London, UK
d. May 4, 1974.
nee Geraldo Bright[ Geraldo & his Sweet Music ], (40's) b. London Aug. 10, 1903 ; d. May 4, 1974 ('76) né: Gerald Bright. Theme: "Lady Of Spain" A piano prodigy who trained at the Royal Academy of Music. His was one of the dominant orchestras of the period, occupying the same place in British music that Glenn Miller did in American music.
He formed some bands in the very early 1920's but came to the public's attention with his St. Anne's-on-the-Sea Hotel Majestic Orchestra. He stayed at the Majestic for 5 years and then in August 1930, the Savoy Hotel booked the 'Geraldo Gaucho Tango Band'. As the 'Tango King of England', he had a Royal Command Performance in 1933.
By 1937, the "Gauchos" had disappeared into the mists of antiquity, and Geraldo was back leading a regular Swing and dance orchestra. 

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In late 1938, Geraldo started the Sunday Night Swing Club Concerts at the St. Martin theater. (The concerts didn't last too long, but the Heralds of Swing were there on April 2, 1939.) He toured extensively throughout the war years, with a very fine orchestra. He added "Jiver" Hutchinson, the West-Indian trumpeter who came up with the Ken Johnson band, and later had his own orchestra. In June of 1942, Beryl Davis, daughter of bandleader Harry Davis, left the Oscar Rabin band and joined Geraldo as vocalist. Famed trumpeter Ron Simmonds has recalled some of the personnel at this time.
 

In retrospect, Geraldo had a great band, and maybe 'swung' more than the Heath band. One of the arrangers was the 2nd alto player, Wally Stott, who used to conduct the 'Goon Shows'. (Wally now lives in Scottsdale, AZ, USA, and is the chief ghost writer to John Williams (Schindler's List, etc.). The other arranger for Geraldo was George Evans, who later on had a band with ten saxophones, five trumpets and four rhythm. Terrific sound! In the post war years, Geraldo became involved with band management, supplying bands for the Cunard Liners. He managed the pit orchestra for a theater circuit and also was the musical director for Scottish Television.
Geraldo (bandleader) - Wikipedia



1897
Jack Haley

From 
Wikipedia
Born: John Joseph Haley
August 10, 1897, Boston, Massachusetts, U.S.
Died: June 6, 1979 (aged 81), Los Angeles, California, U.S.
Cause of death: Heart attack
Occupation: Vaudeville performer, Actor, Comedian, Singer and Dancer
Years active: 1924–1979
Spouse(s): Florence McFadden (m. 1921–1979; his death)
Children: Jack Haley, Jr. (1933–2001)
Gloria Haley-Parnassus (1923–2010)


John Joseph "Jack" Haley (August 10, 1897 – June 6, 1979) was an American vaudevillian, stage, radio, and film actor, light comedian, singer and dancer best known for his portrayal of the Tin Man in the classic 1939 MGM film The Wizard of Oz.

Early life

Haley was born in Boston, Massachusetts to Canadian-born parents John Joseph Haley Sr. and Ellen Curley Haley. His father was a sailor by trade and died in a ship wreck off the coast of Nova Scotia on February 1, 1898 when Jack was only six months old. He had one older brother, Bill, who died of pneumonia in 1915 at the age of 20 after contracting tuberculosis.

Career

Haley headlined in vaudeville as a song-and-dance comedian. One of his closest friends was Fred Allen, who would frequently mention "Mr. Jacob Haley of Newton Highlands, Massachusetts" on the air. In the early 1930s, Haley starred in comedy shorts for Vitaphone in Brooklyn, New York. His wide-eyed, good-natured expression gained him supporting roles in musical feature films, including Poor Little Rich Girl with Shirley Temple, Higher and Higher with Frank Sinatra and the Irving Berlin musical Alexander's Ragtime Band. Both Poor Little Rich Girl and Alexander's Ragtime Band were released by Twentieth Century-Fox. Haley was under contract to them and appeared in the Fox films Rebecca of Sunnybrook Farm and Pigskin Parade, marking his first appearance with Judy Garland.


Haley hosted a radio show from 1937 to 1939 known to many as The Jack Haley Show. The first season (1937-1938), the show was sposored by Log Cabin Syrup and was known as The Log Cabin Jamboree. The next season (1938-1939), the show was sponsored by Wonder Bread and was known as The Wonder Show. During the second season the show featured Gale Gordon and Lucille Ball as regular radio performers.


Haley returned to musical comedies in the 1940s. Most of his '40s work was for RKO Radio Pictures. He left the studio in 1947 when he refused to appear in a remake of RKO's Seven Keys to Baldpate. Phillip Terry took the role.

Metro-Goldwyn-Mayer hired Haley for the part of the Tin Man in The Wizard of Oz after its contracted song-and-dance comedian Buddy Ebsen suffered an almost fatal allergic reaction. He had unwittingly inhaled some of the aluminum dust that composed the majority of the components that went into the creation of his silver face makeup. Bits of it instantly began to settle on his lungs and within a few days of principal photographic testing, he found himself preparing to sit down to dinner one night only to encounter difficulties taking a regular breath of oxygen. The dust was subsequently converted into a paste for Haley in the hope that the previous catastrophe that befell Ebsen would not be repeated. This time around, however, a different incident occurred. The application of the aluminum paste to Haley's face resulted in an eye infection that led to him being off the set for four days of shooting. Appropriate surgical treatment was administered and any chance of serious or permanent eye damage averted.[10] Haley also portrayed the Tin Man's Kansas counterpart, Hickory, one of Aunt Em and Uncle Henry's farmhands.

Haley did not remember the makeup or the costume fondly. Interviewed about the film years later by Tom Snyder, he related that many fans assumed making the film was a fun experience. Haley said, "Like hell it was. It was work!" For his role as the Tin Woodman, Haley spoke in the same soft tone he used when reading bedtime stories to his children. Oz was one of only two films Haley made for MGM. The other was Pick a Star, a 1937 Hal Roach production distributed by Metro-Goldwyn-Mayer.

Jack Haley. With his wife Flo in 1923.
Personal life

Haley was raised Roman Catholic. He was a member of the Good Shepherd Parish and the Catholic Motion Picture Guild in Beverly Hills, California. He married Florence McFadden (1902-1996), a native of Wilkes Barre, Pennsylvania on February 25, 1921, and they were married until his death. Flo Haley opened a successful beauty shop and had many film personalities among her clients. The couple had a son, Jack Haley, Jr., who became a successful film producer, and a daughter, Gloria. In 1974, the younger Haley married entertainer Liza Minnelli, the daughter of his father's Oz co-star Judy Garland. The marriage ended in divorce in 1979. Jack Haley, Jr. died on April 21, 2001. Gloria Haley-Parnassus died on May 1, 2010. His nephew Bob Dornan served as a Republican congressman from California.

Death

Jack and Florence Haley's grave at Holy Cross Cemetery, Culver City, California. Their son, Jack Haley, Jr., is buried next to them.
Haley's last film appearance was in 1977's New York, New York—in the lavish "Happy Endings" musical number, he played a host who introduces a top Broadway star at an award ceremony, played by his then-daughter-in-law, Liza Minnelli. Two years later, Haley died of a heart attack on June 6, 1979, in Los Angeles, California. Two months prior, on April 9, 1979, he appeared at the 51st Academy Awards ceremony with his Oz co-star Ray Bolger to present the award for Best Costume Design. Bolger announced the nominees, Haley the winner. Before he could open the envelope, Bolger asked, "How come you get to read the winner?" Haley replied, "When your son produces the show, you can announce the winner". Jack Jr. was the show's producer that year. Haley remained active until a week before his death. He is buried in Holy Cross Cemetery, Culver City, California.

Haley's autobiography, Heart of the Tin Man, was published in 2000.


1890
Robert Hampton, (ragtime) piano
b. Tuscumbia, AL, USA.



1913
Alfred "Snuff" Johnson, Blues vocals/guitar
b. Cedar Creek, TX, USA.
Biography \
~ Joslyn Layne
Texas country bluesman Alfred "Snuff" Johnson played guitar since the 1920s, but didn't perform "professionally" for another 60 years, and wasn't recorded until 1994. Johnson was born in Cedar Creek, Texas to parents Frank and Pearl Lee Johnson, who were sharecroppers. His father often played the fiddle with his uncle, Will Johnson, a guitarist. Both had an effect on the young Johnson, who watched and listened intently. Eventually, he was allowed to pick up his uncle's guitar. It was also around this time -- around the age of 12 -- that he began using snuff and earned his nickname. His uncle threw country balls regularly, which featured slow dancing, folk blues and country tunes. The music heard at these influenced Snuff's repertoire, as did seeing Mance Lipscomb perform a few times. Snuff's relaxed style includes a steady thumb-strummed bass line that reflects Lipscomb's influence. Johnson began playing his "black cowboy blues" at house parties and balls, but also played guitar in church. He settled in Austin after being discharged from the army in 1945 and remained there, working in construction, at a service station and, finally, as a piano mover.
He played out (although not for pay) during the '50s and '60s, and in the mid-70s met an auto mechanic who happened to be working on a Gibson guitar. Snuff picked it up and played it a bit, starting a friendship with the man. The mechanic was a music fan, Charles Devitalis, who went on to serve as informal advisor to Snuff, who couldn't read or write. After retiring in 1976, Snuff focused on his family (he has 13 children from 3 marriages) and the church. His material includes recompositions of old blues standards such as "Good Morning Blues" and "post-gospel, camp meeting era" religious songs, including hymns like "Going Back to Jesus" and "Old Time Religion." Johnson's performed first professional shows in the late '80s, when he was invited to perform at Austin's Continental Club, and Antone's. He turned down an Austin producer's recording offer in the early 1990s, and shortly after was invited by Alan Govenar to play at the Dallas Museum of Art. The following year, Govenar brought Snuff back to Dallas to record, resulting in the 1994 Documentary Arts release, Black Cowboy Blues and Church Songs.




1872
Bill Johnson, Bass
b. Talledega, AL, USA d. 1972
Bill Johnson and one of the first band leaders to take the New Orleans style of Jazz outside of the city. In 1909 he was the leader of a band in California. In 1912 he sent for Freddie Keppard and several other New Orleans musicians and toured the country until 1918 on the Orpheum circuit under the name of the Original Creole Orchestra. The band was very popular and no doubt introduced their Northern audiences to Jazz for the first time. Johnson was actually the one who got the gig at the Royal Garden in Chicago, but hired King Oliver to front the band, hence the Original Creole Orchestra eventually became King Oliver's Creole Jazz Band, and Johnson continued to play bass in the band until the group broke up in 1923.
He led his own band in Chicago for many years after that and also played in some of Johnny Dodds' bands. He continued to live and play in Chicago until the 1950's when he retired from music and moved to Mexico. Bill Johnson's sister was Anita Johnson Gonzales whom Jelly Roll Morton had a long history with as her lover and business partner. Morton claimed that they were married but no legal documents have ever been found to substantiate this claim. Bill Johnson (jazz musician) - Wikipedia



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1902
Louise Massey, singer-songwriter
b. Midland, TX, USA.
Member: "Louise Massey & the Westerners"
MABIE, LOUISE MASSEY (1902-1983). Louise Massey Mabie, known as Louise Massey, country and western singer, was born in Midland, Texas, in 1902. Labeled the "original rhinestone cowgirl" by later generations, she was known for her spectacular costumes and ladylike style on stage. Her career, which spanned the period from 1918 to 1950, marked a time when women first became prominent in country music. She formed a band in 1918 with her father, husband, and two brothers.
The band, based in Roswell, New Mexico, was first called the Massey Family Band, and then Louise Massey and the Westerners. After playing local venues and touring the Texas area, the band auditioned for a music show, "The Red Path Chautauqua." The success of the audition led to a two-year tour of the United States and Canada. In 1930 the Westerners signed a five-year contract with CBS radio in Kansas City, Missouri.
In 1934 their song "When the White Azaleas Start Blooming" was released; it sold three million copies. Other hit songs included "South of the Border (Down Mexico Way)" and "My Adobe Hacienda." The latter, cowritten by Massey and Lee Penny, had the distinction of being listed on both the hillbilly and the pop charts simultaneously, causing some to classify it as the first-ever "crossover" hit.
In 1938 Louise Massey began recording and singing for NBC programs in New York. She retired in 1950 to the Hondo valley in New Mexico. She and her husband, Milt Mabie, had one daughter, Joy. Louise Massey was inducted into the National Cowgirl Hall of Fameqv in 1982. She was known for both her English and her Spanish recordings. She died in San Angelo, Texas, on June 20, 1983.


1909
Dan "Slamfoot" Minor, Trombone
b. Dallas, TX, USA
d. 1982, USA
MINOR, DAN [SLAMFOOT] (1909–1982). Dan "Slamfoot" Minor, jazz trombonist, was born in Dallas on August 10, 1909. He took part in the formative period of the Kansas City jazz era of the late 1920s and early 1930s. Thereafter, in the later 1930s and early 1940s, he played with many significant musicians, including Count Basie, Cab Calloway, and Mercer Ellington.
Minor began his musical career in 1926 playing for a local church orchestra; later he joined the Blue Moon Chasers, a band that was active in and around Dallas. His first major professional work came with Walter Page's Blue Devils, with whom he stayed from 1927 to 1929. He then joined a Texas band called the Blues Syncopaters, led by Ben Smith. In 1930–31 he worked with Earl Dykes, Gene Coyqv's Black Aces (from Amarillo), Lloyd Hunter's Serenaders, and the Dallas orchestra of Alphonse Trentqv. In 1931 Minor joined the Bennie Moten band.
When Count Basie formed his own band after Moten's death in 1934, Minor became a member of that first Basie unit. He remained with the Count from 1936 to 1941. While with Basie, he was included in the recordings of Gone with What Wind? (1940) and You Can't Run Around (1940), among many others. From 1941 to 1944 he was with the Buddy Johnson band. He also played with Cab Calloway during 1942. In 1945 Minor worked with Mercer Ellington, and at different times he also played and recorded with Lucky Millinder and Willie Bryant. After the 1940s he played freelance. He performed occasionally during the 1960s. Minor was not regarded primarily as a soloist, but rather as a vital section player who rarely took solos. He died in New York on April 11, 1982.
BIBLIOGRAPHY: John Chilton, Who's Who of Jazz: From Storyville to Swingstreet (New York: Da Capo Press, 1985). Leonard Feather and Ira Gitler, The Biographical Encyclopedia of Jazz (New York: Oxford University Press, 1999). Raymond Horricks, Count Basie and His Orchestra: Its Music and Its Musicians (London: Jazz Book Club, 1958). Barry Kernfeld, ed., The New Grove Dictionary of Jazz (London: Macmillan, 1988). Ross Russell, Jazz Style in Kansas City and the Southwest (Berkeley: University of California Press, 1971).
~Alex Daboub
Handbook of Texas Online - MINOR, DAN [SLAMFOOT]



1895
Harry Richman
Harry Richman (10 August 1895–3 November 1972) was an American entertainer. He was a singer, actor, dancer, comedian, pianist, songwriter, bandleader, and night club performer, at his most popular in the 1920s and 1930s.


Richman was born as Harold Reichman in Cincinnati, Ohio. He changed his name to "Harry Richman" at age 18, by which time he was already a professional entertainer in vaudeville. He worked as a piano accompanist to such stars as Mae West and Nora Bayes. With Bayes' act he made his Broadway debut in 1922. He appeared in several editions of the George White's Scandals in the 1920s to acclaim. He appeared in the 1931 Ziegfeld Follies.
He made his feature movie debut in Hollywood in 1930 with the film Puttin' on the Ritz, featuring the Irving Berlin song of the same title, which gave Richman a phonograph record hit that year. His film career was short lived due to his somewhat overpowering personality, and his limited acting skills. (Leonard Maltin wrote of Puttin' on the Ritz: "A songwriter drinks and goes blind - after seeing this you'll want to do the same".) This made little difference to his career as he remained a popular nightclub host and stage performer.


Richman was also an amateur aviator of some accomplishment, being the co-pilot in 1936, with famed flyer Henry Tindall "Dick" Merrill, of the first round-trip transatlantic flight in his own single-engine Vultee transport. Richman had filled much of the empty space of the aircraft with ping pong balls as a flotation aid in case they were forced down in the Atlantic, and after the successful flight he sold autographed ones until his death. They continue to turn up on eBay to this day.


He also made regular radio broadcasts in the 1930s. He married Hazel Forbes, show girl and Ziegfeld Girl, in March 1938, in Palm Springs, California. He and Forbes shared a sumptuous home in Beechurst, Long Island. Shortly after their wedding Forbes contracted pneumonia and was saved, in part, through the use of the drug sulfanilimide. The couple considered adopting a baby. By 1942 Forbes was divorced from Richman.



Richman largely retired in the 1940s, although he made irregular appearances, including on television, into the 1950s. 


His autobiography A Hell of a Life was published in 1966. 


Harry Richman died in Hollywood, California.

Harry Richman






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1909
Claude Thornhill, Piano/Leader
b. Terre Haute, IN, USA
d. 1965 USA
Though his career as an orchestra leader was relatively limited, pianist Claude Thornhill left a huge legacy. He is often credited as the progenitor of cool jazz. His recordings, featuring innovative arrangements and unusual instrumentation, influenced and impressed many of the post-big band greats, especially Miles Davis. Thornhill's orchestra included arranger Gil Evans and musician Lee Konitz, who also became instrumental in Davis' sound.
Thornhill studied music at the Cincinnati Conservatory and the Curtis Institute in Philadelphia. His first professional job was with the Cleveland-based band led by Austin Wylie, where he joined clarinetist and close friend Artie Shaw. Both left Wylie for Irving Aaronson's Commanders in 1929 and, after touring the country, settled in New York, where they worked as studio musicians. Thornhill quickly earned a good reputation and began to work with big name bands, including those of Benny Goodman, Russ Morgan, Paul Whiteman, Meyer Davis, Hal Kemp, Freddie Martin and Andre Kostelanetz. In 1934 he was asked to join Ray Noble's new American orchestra, which was being organized by his friend, Glenn Miller. After two years with Noble he moved to the West Coast, where he served as the musical arranger for the Skinnay Ennis Orchestra on the Bob Hope radio show. During this period Thornhill also worked with singer Maxine Sullivan, making her famous with the tunes ''Loch Lomond'' and ''Gone with the Wind.'' In early 1940 Thornhill formed his own orchestra, which subbed for Miller's orchestra at the Pennsylvania Hotel and for Sammy Kaye's group at the Commodore before taking off on a disastrous tour. Ballroom fires and dishonest promoters took their toll on the group's morale. Things quickly turned around however when they were booked into the Glen Island Casino during March of 1941. Response to Thornhill's progressive jazz orchestra was tremendous from serious jazz fans. At times the group's six clarinets would all play in unison, the horns would sound long tones with almost no vibrato, and Thornhill's tinkling piano would alternate between beauty and humor. The group would play sweet and very soft, only to explode the next second into a burst of sound, much to the delight of radio engineers. Singers at that time were Bob Jenney, Betty Claire and Dick Harding. Though it was on the verge of commercial success, after the orchestra's two-month stay at the casino ended it went on a tour from which it hardly broadcast and virtually disappeared from the public eye, finally to re-emerge on the West Coast with some line-up changes. Gil Evans joined the group, as did drummer Davey Tough. Terry Allen became the new male singer. 
The group was booked into the Glen Island Casino again for the summer of 1942. By then its lineup included seven clarinets, two french horns, a tuba and a vocal group, the Snowflakes (Buddy Stewart, Lillian Lane, and Martha Wayne). The band's second time at the casino was just as successful as its first, but as the year progressed the draft took its toll on the musicians. Thornhill himself finally received the call, and the group was disbanded in October. 

Though he could have entered the Coast Guard as a musician with the rank of Chief Petty Officer, Thornhill instead opted for the Navy. Saying he wanted to stay away from music, he became an apprentice seaman, the lowest rank. The Navy, however, had musical plans for him anyway. He spent part of his three-year hitch playing in Artie Shaw's orchestra and the other part organizing groups on newly-occupied territories in the Pacific, where he worked closely with admirals Nimitz and Hulsey.
Claude Thornhill and his Orchestra
Discharged in 1946 Thornhill reorganized his civilian orchestra, with all but five of the original musicians returning. New vocalists were Fran Warren and Gene Williams. Though the new group was exciting it couldn't survive the downturn in the band business. It finally broke up in 1948. During the 1950s Thornhill occasionally put together new outfits but by the middle part of the decade had vanished from the public eye. He settled in New Jersey and spent the rest of his days leading small units. He was planning a comeback in 1965 when he suffered a double heart attack and passed away. ~SOLID!
1905
Nat Towles, Bass/Leader
b. New Orleans, LA, USA
d. 1963
Biography
Although not one of the most famous bandleaders in jazz history, Nat Towles was extremely influential to many players. His bandstands were proving and training grounds for many players who went on to make names for themselves in jazz, including Jimmy Heath, Oliver Nelson, Buddy Tate, and Paul Quinichette, all superior saxophonists. He was considered an influence on the Chicago jazz scene and Kansas City jazz, and would be picked out as a main influence on the Omaha jazz scene if anyone thought there was one.
The son of New Orleans bassist Phil "Charlie" Towles, this artist at first balked at the kind of load his dad was lugging around. He tried out guitar and violin, then got wise and switched to string bass. His first steady gig was with Gus Metcalf's Melody Jazz Band, which led to engagements with Buddie Petit, Henry "Red" Allen, Jack Carey, and the Original Tuxedo Jazz Orchestra. By the time these experiences were over, he was more than ready to form his own band, which he called the Creole Harmony Kings. This band toured Oklahoma, Texas, and New Mexico from 1923 through 1927.
Halfway through this period, Towles also had a brief stint as bassist with Fate Marable. In 1929, Towles left New Orleans with the Seven Black Aces led by banjoist Thomas Benton. He then went back to fronting his own based in Jackson, MS, for the next three years. In 1934, he worked for pianist Ethel Mays and also led a band of his own out of Dallas. He began to teach in the mid-'30s, taking over the direction of the Wiley College students' band in Austin, TX. During this period, he influenced many younger musicians, some of whom joined his touring bands, such as pianist Duke Groner and trombonist Buddy McLewis. Towles continued to lead groups based a few hours north in Dallas and in 1936, his players took up residency at the Dreamland Ballroom in Omaha, NE. This lineup included Heath. Arranger and composer Neal Hefti, still a bit green around the ears at only 15 years old, contributed charts to Towles' band in the late '30s. Fellow Omaha player Harold Johnson recalled that some of Hefti's very first scores for Towles were the tunes "Swingin' on Lennox Avenue," "More Than You Know," and a very popular arrangement of "Anchors Aweigh." It might not have been Hefti's cup of tea, because he called the group a "Mickey Mouse band." Towles kept up regular touring with this group into the early '40s, including several residencies in and around New York in 1943.
One of the highlights of these Big Apple appearances was being booked at the Apollo Theater. Other players who were active in these groups included saxophonists such as Buster Bennett and Preston Love. Towleswas a bandleader through the late '50s, when a move to California seemed to signal a desire for a quieter way of life. Whether his decision to open his own bar in 1959 was the best way of achieving this is a subject for bar proprietors to discuss, and they should take into account the fact that Towles wound up dying of a fatal heart attack. ~ Eugene Chadbourne



Notable Events Occurring
On This Date Include:

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1948.
Lucille Bogan
née: Lucille Anderson
b. Amory, Monroe County, MS, vocals
died in Los Angeles, CA, USA.
Age: 51
Lucille Bogan




1965.
Freddie Slack, piano
died in Hollywood, CA, USA.
1981.
Henrietta Waddy, vocals
died in Philadelphia, PA, USA.
Age: 81.
Member: 'Clara Ward Singers'



1991.
Buster Smith
alto sax/guitar/arranger
died in Dallas, TX, USA.
Age: 86

1992.
Annisteen Allen, vocals
died in New York (Harlem), NY, USA.
Age: 71.
Worked with Lucky Millinder
Annisteen Allen - Wikipedia



Songs Recorded/Released
On This Date Include:


1920



Mamie Smith's Jazz Hounds - Crazy Blues

1921




Daisy Martin with the Tampa Blue Jazz Band - Keep On Going (When You Got Where You're Going You Won't Be Missed At All)


Daisy Martin - 
Brown Skin (Who You For)

1925




Jack Hylton's Kit-Cat Band - Milenberg Joys


Eddie Peabody - I Miss My Swiss (My Swiss Miss Misses Me) - Vocal chorus by Arthur Fields

1926



Bessie Brown

The California Ramblers - Up And At 'Em


1927


Frank Brunch and his Fuzzy Wuzzies
  • Fuzzy Wuzzy

The Goofus Five - Clementine (From New Orleans)

The Goofus Five Nothin' Does-Does Like It Used To Do-Do-Do



1928



Johnny Hamp's Kentucky Serenaders
  • Two Lips (To Kiss My Cares Away) - Vocal refrain by Frank Munn

Annette Hanshaw - Get Out And Get Under The Moon

Annette Hanshaw - Lonely Nights In Hawaii



The California Ramblers
  • Once In a Lifetime

1939




Fats Waller and his Rhythm - Abdullah

Fats Waller and his Rhythm - Squeeze Me



LYRICS:

CRAZY BLUES

I can't sleep at night.
I can't eat a bite --
'cause the {man|gal} I love --
{he|she} don't treat me right.
{He|She} makes me feel so blue.
I don't know what to do.
Sometime I sit and sigh
and then begin to cry
'cause my best friend
said {his|her} last goodbye.
There's a change in the ocean,
change in the deep blue sea, my baby,
I'll tell yo,u folks, there ain't no change in me.
My love for that {man|gal} will always be.
Now I can read {his|her} letters.
I sure can't read {his|her} mind.
I thought {he's|she's} lovin' me.
{He's|She's} leavin' all the time.
Now I see my poor love was blind.
Now I got the crazy blues since my baby went away.
I ain't got no time to lose.
I must find {him|her} today.
Now the doctor's gonna do all that he can.
But what you're gonna need is an undertaker man.
I ain't had nothin' but bad news.
Now I got the crazy blues.



Milenberg Joys

Rock my soul with the Milenberg Joys.
Rock my soul with the Milenberg Joys.
Play 'em daddy, don't refuse;
Separate your mama from the weary blues.
Hey! Hey! Hey! Sweet boy syncopate your mama
All night long with that Dixieland strain,
Play it down, then do it again.
Ev'rytime I hear that tune good luck says,
"I'll be with you soon."
That's why I've got the Milenberg Joys.


GET OUT AND GET UNDER THE MOON





Whadda you do in the evening
When you don't know what to do?
Read a book?
Play a game?
Every night it's just the same!
Whadda you say if I tell you
How to keep from feeling blue?
My advice is good to take,
And it's easier to do!
When you're all alone, any old night,
And you're feeling mighty blue,
Pick up your hat,
Close up your flat,
Get out, get under the moon.
Underneath the bright silvery light,
You'll be feeling better soon!
Pick up your hat,
Close up your flat,
Get out, get under the moon.
Ba-da-da-da-da-da,
Look, look, look at those stars above,
Ah look, look, look at those sweeties love!
Oh boy, give me a night in June,
I mean it!
When you're all alone, any old night,
And you're feeling out of tune,
Pick up your hat,
Close up your flat,
Get out, get under the moon.
When you make a date, any old night,
You're gonna meet your sweetie soon? (are yuh, huh?)
Well then pick up your hat,
Close up that flat,
Get out, get under the moon.
Underneath that bright silvery light,
You'll be feelin' better soon!
Pick up your hat,
Close up your flat,
Get out, get under the moon.
Ba-da-da-da-da-da,
Walk, walk, kiss me then
Walk again,
And talk, talk, kiss and then
Talk again,
Oh boy, sweethearts are all in tune,
I mean it!
When it's raining out,
Oh stay in your flat,
But on a lovely night in June,
Pick up your hat,
Close up your flat,
Get out, get under the moon.


Fats Waller / Clarence Williams / Andy Razaf

Daddy you've been doggone sweet on me,
Daddy you the only one I see.
You know I need but you, 'cause you my man,
You can love me like no-one can!
Somethin' 'bout you I can't resist,
And when you kiss me daddy, I stay kissed!
Now daddy, squeeze me, squeeze me again,
Oh daddy, don't stop till I tell you when!
Now daddy, squeeze me, kiss me some more, oh Lord!
Like you did before.
You papa Cupid is standin' close by,
Now daddy, don't let sweet baby cry;
Pick me up on your kneee,
I just get so, you know, when you squeeze me!
Squeeze me, squeeze me again,
Now daddy, don't stop till I tell you when!
Now daddy, squeeze me, kiss me some more, oh Lord!
Like you did before.
You papa Cupid is standin' close by,
Daddy, don't let sweet momma cry;
Pick me up on your kneee,
I just get so, you know daddy, when you squeeze me!


brought to you by...
~confetta
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