Ernest R. Ball, composer
b. Cleveland, OH, USA.
d. May 3, 1927, Santa Ana, CA, USA.
~Parlor Songs BIO: Ernest R. Ball
Ball was precocious in music from the start. He was given music instruction at the Cleveland Conservatory, and as early as age 13 began giving music lessons to others. Today he is noted mostly as one of America's best loved composers of Irish songs and is often called the American Tosti (Francesco Paolo Tosti, 1846-1916, a prolific and talented Italian song composer and teacher.) Though he was famed as a composer of Irish tunes, he wrote many other "mainstream" songs, actually, many more than his "Irish" output.
In 1905, Ball was already in New York City and working as a relief pianist at the Union Square Theater and later worked in Tin Pan Alley at the Whitmark publishing house as a song demonstrator. Ball remained a loyal employee of Whitmark for the rest of his life in spite of his fame. Ball's early attempts at composing were self described as "flops." In 1904 he wrote In The Shadow Of The Pyramids with Cecil Mack.
Introduced by the dynamic and popular May Irwin, that song was also a "flop." In 1905 he was given a few verses written by the then state Senator, James J. Walker, who later became famous as Jimmy Walker, Mayor of New York City. He put one of the verse to music, and called it Will You Love Me In December as You Do In May?. It became a national hit. This song caused Ball to reassess his approach and in he later recounted that he realized this song had "come from the heart" where his earlier songs had been fabricated and structured. Ball said, "Then and there I determined I would write honestly and sincerely of the things I knew about and that folks generally knew about and were interested in."
From that beginning and from 1907 to 1910, Ball wrote a number of 'mainstream' songs that were moderately successful. But in 1910, a collaboration with Chaucey Olcott, changed his career. In that year, Ball wrote the Irish classic, Mother Machree. Two years later, in 1912 the lyricist of Mother Machree, Rida Johnson Young, joined him again to publish When Irish Eyes Are Smiling and his position as a writer of Irish ballads was cemented forever. He wrote hundreds of songs over his career, many Irish, many not and it is said his output amounted to over 25 million copies of sheet music sold. His last song published was appropriately, Irish, the 1927 hit Rose of Killarney with lyrics by William Davidson.
Ball also enjoyed a long career in vaudeville as a singer of his own ballads. During later appearances, he costarred with his wife, Maude Lambert. In 1927, A few minutes after his act on a Santa Ana, CA vaudeville theater, he suffered a fatal heart attack and died, just 49 years old. Fittingly, he had just performed a medley of his greatest hits as a recap of his great musical accomplishments. On hearing of his death, the great Irish tenor John Mc Cormack said; "Ernie is not dead. He will live forever in his songs."
Ball was buried at Lake View Cemetery Cleveland, Cuyahoga County Ohio, USA

Sara Carter, vocals (c&w)
b. Flat Woods, VA, USA.
d. Jan. 8, 1979.
née: Sara Doughtery Member: 'The Carter Family'.
~by Craig Harris
As a member of the Carter Family, Sara Dougherty Carter laid the foundation for modern country music. During the fourteen years (1927 to 1941) that she recorded with then-husband Alvin Pleasant "A.P. " Delaney Carter and her cousin and A.P.'s sister-in-law Maybelle, Carter helped to turn the sounds of rural America into an international phenomenon.

The saga of the Carter Family began on July 31, 1927 when Sara, A.P. and Maybelle drove their Model T Ford from their home in Maces Spring, Virginia to Bristol, Tennessee, where Ralph Peer, a talent scout for Victor Records, was auditioning new acts. Passing the audition, the trio recorded three tunes on August 1 and 2, returning to their farm afterwards. When the songs proved commercially viable, they were signed by the label and brought to Camden, New Jersey where they recorded several additional tunes, including "Wildwood Flower." Singing lead and playing autoharp and guitar, Carter provided a rhythmic accompaniment to Maybelle's distinctive guitar melodies and the songs that A.P. had collected. The 273 songs that Sara recorded with The Carter Family for Victor remain a treasure chest of country music classics.

According to legend, Sara first met A.P. after he spied her sitting on her front porch playing autoharp and singing a folk song, "Engine 143." As a teenager, she had performed often with her cousin, Maybelle Addington. After she and A.P. were married on June 18, 1915, they performed as a duo at local parties and social gatherings. When Maybelle married A.P.'s brother, Ezra, the trio was launched.

Financial difficulties during the Great Depression of the late 1920s took their toll on Sara and A.P.'s marriage. Although they divorced in 1933, they continued to work together. In 1935, the Carter Family switched to the ARC (later Columbia) label, for whom they recorded 40 tunes, mostly remakes of their earlier material. The following year, they moved over to the Decca label and became one of the first artists to be paid a royalty for their recordings. In the late 1930s, the Carters increased their influence through their many appearances on radio stations along the Texas-Mexico border. In 1939, Sara married A.P.'s cousin Coy Bayes and moved to California. The Carter Family concluded their recording career in 1941, returning to the Victor label and recording fourteen songs in a New York studio on October 14. The session marked the first time that Sara received credit as a songwriter.

In 1952, Sara and A.P. came out of retirement and, joined by their children Joe and Janette, attempted a comeback. Signed by the Kentucky-based Acme label, they recorded more than 90 songs. When their efforts proved diappointing, they retired again in 1956. A.P. Carter died four years later. Sara's final public performances came in 1967, when she and Maybelle recorded an album, An Historic Reunion. She died twelve years later. Along with the Carter Family, she was inducted into the Country Music Hall of Fame in 1970.
Floyd Jones, guitar
b. Marianna, AR, USA. 
~by Bill Dahl 
His sound characteristically dark and gloomy, guitarist Floyd Jones contributed a handful of genuine classics to the Chicago blues idiom during the late '40s and early '50s, notably the foreboding "Dark Road" and "Hard Times."
Born in Arkansas, Jones grew up in the blues-fertile Mississippi Delta (where he picked up the guitar in his teens). He came to Chicago in the mid-'40s, working for tips on Maxwell Street with his cousin Moody Jones and Baby Face Leroy Foster and playing local clubs on a regular basis. Floyd was right there when the postwar "Chicago blues" movement first took flight, recording with harpist Snooky Pryor for Marvel in 1947; pianist Sunnyland Slim for Tempo Tone the next year (where he cut "Hard Times"), JOB and Chess in 1952-53, and Vee-Jay in 1955 (where he weighed in with a typically downcast "Ain't Times Hard"). Jones remained active on the Chicago scene until shortly before his 1989 death, although electric bass had long since replaced the guitar as his main axe. He participated in Earwig Records' Old Friends sessions in 1979, sharing a studio with longtime cohorts Sunnyland Slim, Honeyboy Edwards, Big Walter Horton, and Kansas City Red.

Ken Maynard, Singing cowboy actor
b. Vevay, IN, USA.
~by John Bush

America's first singing cowboy, Ken Maynard starred in over 300 films and though his recorded legacy is far less overwhelming, he did appear on several sides for Columbia. Born in tiny Vevay, Indiana (he later claimed a Texas birthplace), Maynard was a rodeo champion and trick rider for both Buffalo Bill and the Ringling Brothers Wild West shows. He came to Hollywood in 1923 and became popular quite soon, appearing in more than 20 films by the end of the decade. 

By 1929, Maynard became the first cowboy crooner (on 1929's The Wagon Master), and he entered Columbia studios in Los Angeles one year later to record eight sides, including several from his recent films.
Though he never entered a recording studio again, Maynard remained popular in the film world, winning the top moneymaker award for Westerns in 1936 and 1937 (the first two years the poll was taken). He taught John Wayne the art of stunts, and also provided for Gene Autry's film debut with 1934's In Old Santa Fe. By the end of the '30s however, Maynard's popularity decreased. He made a few more films during the mid-'40s, then retired from active moviemaking. Legendary folklorist Harry Smith later included one of Maynard's recordings, "The Lone Star Trail," on his 1952 folksong compendium Anthology of American Folk Music.

Omer Simeon, Clarinet
b. New Orleans, LA, USA., d. Sept. 17, 1959

~by Scott Yanow
Omer Simeon's career can easily be divided into three parts due to significant associations with Jelly Roll Morton, Earl Hines, and Wilbur DeParis. Although born in New Orleans, Simeon ironically did not start to play clarinet until he moved with his family to Chicago in 1914. He took lessons from Lorenzo Tio, Jr. and soon afterward was working professionally. After playing with his brother/violinist Al Simeon's band, Omer spent four years (1923-1927) with Charlie Elgar's Creole Orchestra. It was during this time that he met up with Jelly Roll Morton (he soon became Morton's favorite clarinetist) and recorded classic sides with him in 1926 and 1928; among the many gems were "Black Bottom Stomp," "The Chant," "Someday Sweetheart" (taking a reluctant solo on bass clarinet), "Doctor Jazz," and a trio rendition of the complex "Shreveport Stomp." Simeon worked regularly with King Oliver in 1927, and with his successor Luis Russell the following year.
After returning to Chicago, he was with Erskine Tate's Vendome Orchestra (1928-1930); and then joined Earl Hines' big band in 1931, where during the next six years he was well featured on both clarinet and tenor, making many recordings with the great pianist. After leaving Hines, Simeon spent briefer periods in the big bands of Horace Henderson (1938), Walter Fuller (1940), and Coleman Hawkins. He was a member of the Jimmie Lunceford Orchestra from 1942 on, not only staying during the big band's declining years but remaining after Lunceford's death in 1947 during the three years that Ed Wilcox led the ghost orchestra. Simeon also recorded Dixieland with Kid Ory during 1944-1945. Moving back to New York, Omer Simeon became the clarinetist with Wilbur DeParis' "New New Orleans Jazz Band," touring and recording with the spirited ensemble up until his death in 1959. Although a highly rated clarinetist for 35 years and considered one of the most technically skilled of all New Orleans-born reed players, Omer Simeon's only opportunities to lead record sessions resulted in just two songs in 1929, and a Jazztone trio set in 1954.
Notable Events Occurring
On This Date Include:


Singer Kate Smith, composer George Gershwin and New York City Mayor Jimmy Walker were featured on the very first CBS-TV program. Veteran announcer Ted Husing was master of ceremonies.


Louis Jordan recorded "What's The Use Of Getting Sober (When You Gonna Get Drunk Again)" and "Five Guys Named Moe" for Decca Records. USA.


died in New York, NY, USA.
Age: 77.


died in New York (Harlem), NY, USA.
Age: 76.


died in Montreuil, France.
Age: 82


Louise Spence, vocals/guitar


died in New Orleans, LA, USA.
Age: 90.

Songs Recorded/Released
On This Date Include:


Columbia Saxophone Sextette
I'm Forever Blowing Bubbles - Introducing: "Lane of Love"- (Incidental Chorus by Campbell and Burr)


Art Hickman and his Orchestra
  • Cuban Moon (Introducing: "When Alexander Blues The Blues")
  • In Old Manila


Paul Whiteman and his Orchestra

The Washingtonians in 1925. left to right: Sonny Greer, Charlie Irvis, Elmer Snowden, Otto Harwick, seated, Bubber Miley, Duke Ellington.
The Washingtonians
  • Animal Crackers
  • Li'L Farina


The Virginians - It's A Million To One You're In Love - Vocal refrain by Franklyn Baur


Louis Armstrong and his Sebastian New Cotton Club Orchestra

Louis Armstrong and his Sebastian New Cotton Club Orchestra - I'm A Ding Dong Daddy (From Dumas)

Clara Smith - Don't Fool Around On Me

Annette Hanshaw - I Want A Good Man (And I Want Him Bad)

Henry "Red" Allen
Henry Allen - Coleman Hawkins and their Orchestra

Paul Whiteman's Orchestra ON THE AIR
  • The Bells Of St. Mary's


I'm Forever Blowing Bubbles

Verse 1:
I'm dreaming dreams,
I'm scheming schemes,
I'm building castles high.
They're born anew,
Their days are few,
Just like a sweet butterfly.
And as the daylight is dawning,
They come again in the morning.
I'm forever blowing bubbles,
Pretty bubbles in the air.
They fly so high,
Nearly reach the sky,
Then like my dreams,
They fade and die.
Fortune's always hiding,
I've looked everywhere,
I'm forever blowing bubbles,
Pretty bubbles in the air.
Verse 2:
When cattle creep,
When I'm asleep,
To lands of hope I stray.
Then at daybreak,
When I awake,
My bluebird flutters away.
Happiness new seemed so near me,
Happiness come forth and heal me.
I'm forever blowing bubbles,
Pretty bubbles in the air.
They fly so high,
Nearly reach the sky,
Then like my dreams,
They fade and die.
Fortune's always hiding,
I've looked everywhere,
I'm forever blowing bubbles,
Pretty bubbles in the air.

Nobody Cares If I'm Blue
~Annette Hanshaw

All the old gang that I once knewNow have left me two by two.
The only beau (...?)
I'm so lonely by my only.
Each and every one it seems
Meets the ideal of their dreams.
I've searched everywhere for my ideal.
Now I'm beginning to feel
Nobody knows, nobody care if I'm lonesome.
Nobody cries, nobody sighs if I'm blue.
It seems that night after night
I sit alone and twiddle my thumbs.
But I just keep right on hoping, keep the door open
But nobody comes.
Ain't it a crime kisses of mine are just wasted?
Then summer starts, I'm thinking what'll I do?
Like a play-thing on the shelf
I guess I'll have to play by myself.
Cause nobody knows, nobody cares if I'm blue.
Nobody knows, nobody cares if I'm lonesome.
Nobody sighs, nobody cries if I'm blue.
I sit at home constantly,
My company is just the four walls.
But still I keep right on hoping, keep the door open
But nobody comes.
Ain't it a crime loving like mine is just wasted?
When summer starts, I'm thinking 'what'll I do?'
When it comes to happiness,
I must be a step-child I guess
Cause nobody knows, nobody cares if I'm blue.

~Benjamin F Spikes & John C Spikes

Someday, sweetheart,
You may be sorry
For what you've done
To my poor heart;
And you may regret
Those vows that you've broken,
And the things that you did to me
That made us drift apart.
Oh, you're happy now,
And you can't see how
Those weary blues
Will ever come to you;
But as you sow,
So shall you reap, dear;
And what you reap
Will gonna make you weep,
Someday, sweetheart!
Someday, sweetheart,
Oh you're gonna be sorry, oh yes1
For what you done
To my poor heart;
And you may regret
Those vows that you've broken, oh-oh-oh-oh!
And the things that you did to me
That made us drift apart.
Oh, you're happy now,
And you can't see how
Those weary blues
Ever gonna come to you;
But as you sow-ho-ho,
So shall you reap,
And what you reap
Is gonna make you weep,
Come on baby,
Have a heart!
Don't you tell me
That we have to part.
You know I've loved you
From the start,
You'll rue the day,
And blue is the day
You break my heart.

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