Jane Froman, Vocalist
b. University City, MO, USA
d. April 22, 1980, Columbia, MO, USA.
née: Ellen Jane Froman.
A magnificent Broadway and Film vocalist, she suffered a tragic accident. On February 22, 1943, while on her way to Europe to do a USO tour, Froman's plane crashed in the Tagus River at Lisbon, killing 25 of the 39 people on board. She had a compound fracture of the right leg, the left leg nearly severed below the knee, two broken ribs, and the right arm fractured in several places.
She was finally able to return to the United States in April 1943 and underwent several operations. In all, she had to finally undergo 39 operations before regaining some small use of her legs. During this time, she was performing on stage using a disguised electrically operated wheelchair. She was thrice married. First to Donald McKaig Ross (1933 - 1948 divorced ); then to John Curtis Burn (1948 - 1956 divorced), and finally to Rowland H. Smith (20 June 1962- ?).

Max Boag, bass
b: Queensville-Ont. Canada
d: May 6, 1980, Newmarket-Ont, Canada 

Paul E. Cohen
Decca Records exec.
b. Chicago, IL, USA.
d. April 1, 1970, Bryan, TX, USA.
It is no exageration to say that Nashville's emergence as Country music's recording capital was due mainly to the influence of Paul Cohen, head of Decca Record's country department. One week after he died, all of Nashville's music offices closed as a memorial tribute.

William E. "Billy" May
b. Pittsburgh, PA, USA. d. Jan. 22, 2004, San Juan Capistrano, CA, USA. (Heart Failure) né: Edward William May Jr. One of the last of the great arrangers, he first aranged and played trumpet for the Charlie Barnet band (1938-1940), then for Glenn Miller (1940-1942). When Miller broke up his pre-WWII band, Billy settled in Hollywood where he found work with the Les Brown, Woody Herman, Alvino Rey and Ozzie Nelson orchestras. Later, he found work in staff jobs first at NBC studios, then at Capitol Records, where he led his own studio big band from 1951 to 1954. May distinguished himself as an arranger/conductor on collaborations with singers Frank Sinatra, Anita O'Day and Ella Fitzgerald. May's longest association was with Sinatra, working together on such hit albums as "Come Fly With Me" (1957), "Come Dance With Me!" (1958), "Come Swing With Me!" (1961) and "Trilogy" (1979). May has also did extensive television, film, and commercials scoring.

Carl Stalling
~From Wikipedia
Background information
Born November 10, 1891
Lexington, Missouri
Died November 29, 1972 (aged 81)
Los Angeles, California
Genres Film score, soundtrack
Occupation(s) Composer, arranger
Instruments Piano, theater organ
Years active 1928–1958
Labels Warner Bros.
1929 Walt Disney Animation Staff. Carl Stalling is seated at the piano. AHC Photo
Carl W. Stalling (November 10, 1891 – November 29, 1972) was an American composer and arranger for music in animated films. He is most closely associated with the Looney Tunes and Merrie Melodies shorts produced by Warner Bros., where he averaged one complete score each week, for 22 years.

Stalling was born to Ernest and Sophia C. Stalling. His parents were from Germany; his father arrived in the United States in 1883. The family settled in Lexington, Missouri where his father was a carpenter. He started playing piano at six. By the age of 12, he was the principal piano accompanist in his hometown's silent movie house. For a short period, he was also the theatre organist at the St. Louis Theatre, which eventually became Powell Symphony Hall.

By the time he was in his early 20s, he was conducting his own orchestra and improvising on the organ at the Isis Movie Theatre in Kansas City. During that time, he met and befriended a young Walt Disney who was producing animated comedy shorts in Kansas City. Stalling composed several early cartoon scores for Walt Disney, including Plane Crazy and The Gallopin' Gaucho in 1928 (but not Steamboat Willie, Disney's first released sound short), and even spoke Mickey Mouse's first words in The Karnival Kid in 1929. Early discussions with Disney about whether the animation or the musical score should come first led to Disney creating the Silly Symphonies series of cartoons. These cartoons allowed Stalling to create a score that Disney handed to his animators. While there, Stalling pioneered the use of "bar sheets," which allowed musical rhythms to be sketched out simultaneously with storyboards for the animation.

He left Disney after two years, at the same time as animator Ub Iwerks. Finding few outlets in New York, Stalling rejoined Iwerks at his studio in California, while freelancing for Disney and others. In 1936, when Leon Schlesinger—under contract to produce animated shorts for Warner Bros.—hired Iwerks, Stalling went with him to become a full-time cartoon music composer, with full access to the expansive Warner Bros. catalog and musicians. He remained with Warner Bros. until he retired in 1958. His last cartoon was To Itch His Own, directed by Chuck Jones.

Although Stalling's composing technique followed the conventions of music accompaniment from the silent film era that were based on improvisation and compilation of musical cues from catalogs and cue-sheets, he was also an innovator. Stalling is among the first music directors to extensively use the metronome to time film scores. He was one of three composers, along with Max Steiner and Scott Bradley, credited with the invention of the click track. His stock-in-trade was the "musical pun," where he used references to popular songs, or even classical pieces, to add a dimension of humor to the action on the screen. Working with legendary directors Tex Avery, Bob Clampett, Friz Freleng, Robert McKimson, and Chuck Jones, he developed the "Looney Tunes" style of very rapid and tightly coordinated musical cues, punctuated with both instrumental and recorded sound effects, and occasionally reaching into full blown musical fantasies such as The Rabbit of Seville and A Corny Concerto.

Stalling was a master at quickly changing musical styles based on the action in the cartoon. His arrangements were complicated and technically demanding. The music itself served both as a background for the cartoon, and provided musical sound effects. The titles of the music often described the action, sometimes forming jokes for those familiar with the tunes.

Stalling made extensive use of the many works of Raymond Scott, whose music was licensed by Warner Bros. in the early 1940s.

Jones and the other Looney Tunes directors sometimes complained about Stalling's proclivity for musical quotation and punning. In an interview, Jones complained:

He was a brilliant musician. But the quickest way for him to write a musical score was to simply look up some music that had the proper name. If there was a lady dressed in red, he'd always play "The Lady in Red". If somebody went into a cave, he'd play "Fingal's Cave". If we were doing anything about eating, he'd do "A Cup of Coffee, A Sandwich, and You". I had a bee one time, and my God, if he didn't go and find a piece of music written in 1906 or something called "I'm a Busy Little Bumble Bee".    ”
His cues are always tied to the story on the screen. For example, he often uses The Lady in Red and Oh You Beautiful Doll in scenes with attractive women or characters in female drag, and California, Here I Come for scenes where characters make hasty departures. Raymond Scott's In an 18th Century Drawing Room is usually associated with Granny in the Sylvester and Tweety shorts, and his Powerhouse pops up in scenes of machines, factories or mechanical devices. Stalling composed music for the Rossini-derived short The Rabbit of Seville, and linked Smetana's The Dance of the Comedians to Wile Coyote and The Roadrunner. Thus Stalling is remembered today for the scores of cartoons that remain popular, and are often remembered for their music. His melodies are heard through most of the classic Warner Brothers cartoons, and imitated in new Looney Tunes compilations and features such as Looney Tunes: Back in Action.

Film critic Leonard Maltin, on one of the special segments of the DVD series Looney Tunes Golden Collection, pointed out that listening to the soundtracks of the Warner cartoons was an important part of his musical education; and the use of the full Warner Bros. Orchestra resulted in a richness of sound that is often lacking in more modern cartoons. It is undeniable that Stalling introduced the babyboom generation to classical music and much of the Great American Songbook.[citation needed]

After Stalling retired in 1958, he was succeeded by Milt Franklyn, who had assisted Stalling as an arranger since the late 1930s. Stalling died on November 29, 1972, near Los Angeles.

Notable Events Occurring
On This Date Include:

Muggsy Spanier and his band recorded
"Dipper Mouth Blues" on Bluebird label.

Ida Cox, vocals/songwriter
died in Knoxville, TN, USA.
Age: 78.
(née: Ida Prather)
William Owsley, guitar
died in Chicago, IL, USA.
Age: 73.

Harlan Leonard, sax
died in Los Angeles, CA, USA.
Age: 78
A professional musician from the age of 17, he joined Benny Moten's orchestra in 1923, where he led the reed section until 1931. In 1931 he and Thamon Hayes formed the Kansas City Skyrockets, which included trumpeter Ed Lewis, trombonist Vic Dickenson, and pianist Jesse Stone. After disputes with the Chicago local of the American Federation of Musicians the band broke up. Leonard then formed a new band, Harlan Leonard and his Rockets. Charlie Parker played in this band for five weeks, but was fired by Leonard for lack of discipline. The band's music is considered transitional between swing and bebop. The band broke up during the Second World War, and Leonard left professional music.

Songs Recorded/Released
On This Date Include: 


Bailey's Lucky Seven - Carolina Home
  • Gee! But I Hate To Go Home Alone


Bailey's Lucky Seven - Not Here, Not There

    Clarence Williams' Blue Five

    Georgia Melodians
    Fletcher Henderson Orchestra - One Of These Days


    Bessie Brown - Papa De Da Da
      Art Landry and His Orchestra - Sleepy-Time Gal

      Clara Smith

      Bennie Krueger and his Orchestra
      • Let's Wander Away
      • Someone's Stolen My Sweet Baby


      Red and Miff's Stompers
      Harry Reser and his Orchestra

      Paul Whiteman's Original Rhythm Boys
      Duke Ellington and his Cotton Club Orchestra


      Walter Page's Blue Devils - Blue Devil Blues

      Jack Teagarden and his Orchestra - China Boy

      Waring's Pennsylvanians
      • Here It Is Monday And I've Still Got A Dollar
      • Medley from "Flying Colors"Louisiana Hayride - A Shine On Your Shoes - A Rainy Day - Mother Told Me So
      • Wob-a-ly Walk


        Irving Aaronson and his Commanders

          Ted Lewis and his Band


            Sleepy time gal you're turning night into days
            Sleepy time gal you've danced the evening away
            Before each silvery star fades out of sight
            Please give me one little kiss then let us whisper goodnight
            It's getting late and dear your pillow's waitin'

            Sleepy time gal when all your dancing is through
            Sleepy time gal I'll find a cottage for you
            You'll learn to cook and sew
            What's more you'll love it I know
            When you're a stay at home, play at home 8 oclock sleepy time gal

            It's getting late and dear your pillow's waiting
            Sleepy time gal when all your dancing is through
            Sleepy time gal I'll find a cottage for you
            You'll learn to cook and to sew
            What's more you'll love it I know
            When you're a stay at home, play at home 8 oclock sleepy time gal

            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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