Fud Livingston
composer/arranger/Tenor Sax
b. Charleston SC, USA.
d. March 25, 1957, in New York, NY. USA.
The Citadel Jazz Orchestra as pictured in the 1923 edition of The Sphinx yearbook.
From left to right are "Busse" Landrum, "Percy" Covington, "Al" Hamilton, "Fud" Livingston, "Rat" Leland and "Jazz" Thompson.
Fud Livingston started out on accordion and piano before settling on saxophone. He played with Talmadge Henry in Greensboro, South Carolina in 1923, then worked with Ben Pollack, the California Ramblers, Jean Goldkette, Nat Shilkret, Don Voorhees, and Jan Garber; he also recorded freelance with musicians such as Joe Venuti, Red Nichols, and Miff Mole. He did some arrangement work for Frankie Trumbauer and Bix Beiderbecke, including the nursery rhyme "Humpty Dumpty".

He worked with Fred Elizalde in London in 1929, then returned to New York City to play with Paul Whiteman. His stint with Whiteman, which lasted from 1930 to 1933, was mainly as an arranged, though he played occasionally. Later in the 1930s he worked with Benny Goodman (1934), Jimmy Dorsey (1935-37), Bob Zurke, and Pinky Tomlin (1940). He essentially retired after this point, working in music publishing, though he occasionally performed in small-time venues in New York in the 1950s. He never recorded as a leader.
His compositions included "Feelin' No Pain", "Imagination", "Humpty Dumpty", recorded by Frankie Trumbauer with Bix Beiderbecke, "Harlem Twist" with Chauncey Morehouse", and the jazz standard "I'm Through With Love". 
The Fud Livingston composition "I'm Through With Love", written with Matty Malneck and Gus Kahn.

Fud Livingston
Kai Ewans, Alto Sax/Leader
b. Horsholm, Denmark
d. April 3, 1988.
né: Kai Peter Anthon Nielson
Kai Peter Anthon Nielsen, better known as Kai Ewans (April 10, 1906 – April 3, 1988) was a Danish jazz reedist.
Ewans played initially as a banjoist, but switched to saxophone in 1923 when he formed the Blues Jazz Band. The group disbanded in 1924, after which Ewans joined Valdemar Eiberg's ensemble from 1924-26. He adopted the name Kai Ewans in 1927, and led Denmark's first big band in 1927-28, thereafter leading bands in Belgium and Germany through 1931. Following this he played with Bernard Etté, Kai Julian (1931-32), and Eric Tuxen (1932-36). He founded a new big band comprised mostly of musicians from Tuxen's ensemble in 1936, and recorded copiously with Benny Carter in the 1940s. The ensemble dissolved in 1947, and after this Ewans worked in business in the U.S., moving to California in 1956. From 1960 to 1964 he ran a restaurant with Carter in Beverly Hills, and later in the decade returned to Copenhagen to play again. He retired to Connecticut late in life.

Fisk Jubilee Quartet (1909) - Noah Ryder (3rd from the left)
Noah Ryder, piano
b. Nashville, TN
Member: 'Deep River Boys'
Noah Ryder was best known for his many arrangements of Negro spirituals and piano compositions. As a college student and later as head of the theory department and director of the Hampton Institute Choir, he wrote music for many choral ensembles. The Deep River Boys, organized by Ryder, had international fame, and his composition "Sea Suite for Male Voice" won a prize in a Navy competition (1946). Ryder received the B.A. in 1935 vat Hampton Institute and the M.M. at the University of Michigan. Some of his compositions include: "Five Sketches for Piano," "This Ol'Hammer," "Who'll be a Witness," "Hear the Lambs A-Crying," and "Gonna Journey Away."
~Source: Perkins Holly, Ellistine. Biographies of Black Composers and Songwriters; A Supplementary Textbook. Iowa:Wm. C. Brown Publishers, 1990.

Fiddlin' Arthur Smith
b. Bold Springs, TN, USA.
Fiddlin' Arthur Smith was an American old time fiddler and a big influence on the old time and bluegrass music genres.

Henry "Butch" Stone
all reeds/vocals
b. New York, NY, USA.
Butch played briefly with Jack Teagarden in 1940; with Larry Clinton in 1941; and with Les Brown's band from 1941 into 70s. He also worked with Frank Reysen and Van Alexander.
Butch Stone

Fess Williams and his Royal Flush Orchestra
"Fess" Williams
Clarinet/ alto sax/Leader
b. Danville, KY, USA.
d. Dec. 17, 1975.
né Stanley R. Williams
Stanley Williams (10 April 1894 - 17 December 1975) (better known as "Fess" Williams) was an American jazz musician. As a child Williams played several instruments. He received his formal education from N. Clark-Smith at Tuskegee University. By his late teens he had settled on clarinet, and soon afterwards formed the first of many bands he was to lead over the coming years.
From 1919 to 1923 he led his own band before moving to Chicago and joining Ollie Powers. In 1923 he formed a new group in order to back the variety act Dave and Tressie and traveled to New York with them in 1924. There he led a trio in Albany as well as a band that played at the Rosemont Ballroom.
In 1926 Williams formed the Royal Flush Orchestra. The popular hot jazz outfit held residency at Harlem's Savoy Ballroom for most of its life and recorded on the Victor, Vocalion, Gennett, Okeh, Brunswick, Champion, and Harmony labels. Williams, Frank Marvin, and Perry Smith supplied vocals. The flamboyant Williams typically performed wearing a white suit and top hat. During this time he recorded many of his own compositions such as Friction, Here 'Tis and his highest selling record, Hot Town.
In 1928 Williams traveled to Chicago where he temporarily fronted Dave Peyton's band at the Regal Theatre. Calling the group Fess Williams and His Joy Boys, he recorded two sides with them for Vocalion. 
The Royal Flush Orchestra continued to operate in his absence, and in 1929 he returned to New York to resume his duties.
The Royal Flush Orchestra recorded its last side in 1930. Williams remained active as a bandleader, but as the decade progressed his sound became outdated. He fell out of favor with the public and eventually retired from performing full-time to sell real estate. He continued to lead bands periodically during the 1940s and beyond.

~Playing style
Williams played in a style reminiscent of Ted Lewis only less smoothly. He also specialised in the style of Gas Pipe Clarinet which is when the instrument is used to produce all kinds of honks, growls, squeaks and effects that sounded like animal noises, laughter or other sounds you would not expect to hear from a clarinet. He was also a fine exponent of the Slap Tonguing style. He also had the ability to perform a Circular breathing technique meaning he could hold a note indefinitely. This is shown off in his composition "Playing My Saxophone".
Famed vocalist Nat King Cole
was attacked by white supremacist
group while on stage in Birmingham,

Ralph Escudero, bass
died in Puerto Rico.
Age: 71.

Songs Recorded/Released
On This Date Include:


Ray Miller's Orchestra


Edna Hicks


Clara Smith - Cheatin' Daddy


Bennie Krueger and his Orchestra
  • By The Light Of The Stars


Clarence Williams' Jazz Kings

Frankie Trumbauer and his Orchestra


King Oliver's Orchestra - Edna

Frank Melrose


Frankie Trumbauer and his Orchestra - Bass Drum Dan

Frankie Trumbauer and his Orchestra - Honeysuckle Rose


Cliff Edwards "Ukulele Ike" - Six Women (Me And Henry VIII)


Andy Kirk and his Twelve Clouds Of Joy
  • Puddin' Head Serenade


I'm Through With Love
~by Fud Livingston, Matty Malneck and Gus Kahn
I have given you my true love,
But you love a new love.
What am I supposed to do now
With you now, you're through?
You'll be on your merry way
And there's only this to say:
I'm through with love
I'll never fall again.
Said adieu to love
Don't ever call again.
For I must have you or no one
And so I'm through with love.
I've locked my heart
I'll keep my feelings there.
I have stocked my heart
With icy, frigid air.
And I mean to care for no one
Because I'm through with love.
Why did you lead me
To think you could care?
You didn't need me
For you had your share
Of slaves around you
To hound you and swear
With deep emotion and devotion to you.
Goodbye to spring and all it meant to me
It can never bring the thing that used to be.
For I must have you or no one
And so I'm through with love.
Why did you lead me
To think you could care?
You didn't need me for you had your share
Of slaves around you to hound you and swear
With deep emotion and devotion to you.
Goodbye to spring and all it meant to me
It can never bring the thing that used to be.
For I must have you or no one
And so I'm through with love.
brought to you by... 
Special Thanks To:
The Red Hot Jazz Archives,
The Big Band Database, Scott Yanow, 

and all those who have provided content,
images and sound files for this site.

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