Harry Roy, Leader/alto sax/clarinet
b. London, UK, d. Feb. 1, 1969, London, UK.
Harry Roy is best remembered for having led a popular swing band in England and throughout portions of the British Empire during the 1930s. Roy was born Harry Lipman in London, England, on January 12, 1900, and as a teenager he worked in his father's carton manufactory, studying various musical instruments during his free time. In 1919, when the Original Dixieland Jazz Band wowed the crowds in London, young Harry was dazzled by Larry Shields and took up the clarinet.
In 1921, he formed a band with his brother, pianist Syd Lipman. They called their group the Darmswells, but when the O.D.J.B. ended their run at the Hammersmith Palais de Danse the Roy Brothers Original Lyrical Five took their place. This was a variation on yet another of their various titles, the Original Crichton Lyrical Orchestra. The now Anglicized "Roys" waxed a test pressing for Columbia in 1922 and made their first issued recordings for Vocalion in 1927 as the Crichton Lyricals.
Over the next few years their music became available to the public on the Guardsman, Coliseum, Aco, Scala, Crown, Beltona, Imperial, and Crystalate record labels. The Lyricals played all of the best halls and clubs in London, visited Paris, then toured Australia, Tasmania, and South Africa in 1928. They cut two sides for the Broadcast label in 1929 and visited Berlin in 1930, providing live entertainment and making a few more phonograph records. Harry was a born showman, comedian, and vocalist who specialized in songs like "I Wonder How I Look When I'm Asleep?"

Harry became the leader of a new enlarged version of the band in 1931, with Syd assuming managerial duties. The Harry Roy Orchestra spent half a year serenading patrons before and betwixt motion picture screenings at RKO's Leicester Square Theatre, opened at the London Pavillion in 1932, and broadcast over BBC radio from the Café Anglais in 1933. Their theme song was now established as the "Bugle Call Rag." Roy's band distinguished itself at the Mayfair Hotel in 1934 and remained there until 1936.
In 1935, Harry married "Princess Pearl" Eliza Vyner Brooke, daughter of Charles Vyner Brooke, the last white Rajah of the state of Sarawak in Northwestern Borneo. The Harry Roy Orchestra even appeared in motion pictures: "Everything in Heaven" was released in 1935, starring vocalists Princess Pearl and Mabel Mercer, and "Rhythm Racketeers" followed in 1936.
Harry Roy's Orchestra enjoyed a successful tour of South America in 1938 and toured consistently throughout England and the Middle East during the Second World War, after which Roy attempted to perform in the United States of America but was unable to obtain a work permit. His band resumed playing the Café Anglais in 1949. Soon afterward he dissolved his band and opened a restaurant. His last-known public appearance was with a quartet in 1969. Roy fell ill and passed away in London on February 2, 1971.
~ arwulf arwulf
Harry Roy Conducting...

Eddie DeLange
d. July 13, 1949. né: Edgar DeLange.
Please also see our Composer's Database DeLange Entry, for still more interesting information. Biography
~by Joslyn Layne

Bandleader and lyricist Eddie DeLange worked in music from the mid-'30s through the 1940s, and is the lyricist of such popular tunes as "Moonglow" (1934) and "Solitude" (1935), and created music for several films of the 1940s, including 1942's When Johnny Comes Marching Home . Born in New York in 1904, DeLange eventually studied at the University of Pennsylvania. After graduating, he moved to Hollywood and got bit parts in several movies and then moved to N.Y.C. and started wo

rking as a lyricist.
His first published tune, "I Wish I Were Twins" (1934), was co-written with Frank Loesser. His two most popular songs, "Moonglow" and "Solitude," came within the next year. From 1936-1938, he fronted the swing and ballad-oriented Hudson-DeLange Orchestra with Will Hudson and featuring vocalist Ruth Gaylor . After this, DeLange led his own band for a while and was lyricist/librettist for the short-lived 1939 Broadway musical Swingin' the Dream. He focused strictly on songwriting during the 1940s, collaborating with such composers as Josef Myrow ,Jimmy Van Heusen, Louis Alter ,Sam H. Stept, and more. DeLange's music can be heard in movies, including When Johnny Comes Marching Home (1942), If I'm Lucky (1946), and his final project for New Orleans (1947).
Songwriters Hall of Fame 

"Mississippi" Fred McDowell, guitar
b. Rossville, TN, USA. Biography
~by Cub Koda 

When Mississippi Fred McDowell proclaimed on one of his last albums, "I do not play no rock'n'roll," it was less a boast by an aging musician swept aside by the big beat than a mere statement of fact. As a stylist and purveyor of the original Delta blues, he was superb; equal parts Charley Patton and Son House coming to the fore through his roughed up vocals and slashing bottleneck style of guitar playing. 
McDowell knew he was the real deal and while others were diluting and updating their sound to keep pace with the changing times and audiences, Mississippi Fred stood out from the rest of the pack simply by not changing his style one iota.

Though he scorned the amplified rock sound with a passion matched by few country bluesmen, he certainly had no qualms about passing any of his musical secrets along to his young, White acolytes, prompting several of them -- including a young Bonnie Raitt -- to develop slide guitar techniques of their own. Although generally lumped in with other blues "rediscoveries" from the '60s, the most amazing thing about him was that this rich repository of Delta blues had never recorded in the '20s or early '30s, didn't get "discovered" until 1959, and didn't become a full-time professional musician until the mid-'60s.

He was born in 1904 in Rossville, TN, and was playing the guitar by the age of 14 with a slide hollowed out of a steer bone. His parents died when Fred was a youngster and the wandering life of a traveling musician soon took hold. 
The 1920s saw him playing for tips on the street around Memphis, TN, the hoboing life eventually setting him down in Como, MS, where he lived the rest of his life. There McDowell split his time between farming and keeping up with his music by playing weekends for various fish fries, picnics, and house parties in the immediate area. 
This pattern stayed largely unchanged for the next 30 years until he was discovered in 1959 by folklorist Alan Lomax .Lomax was the first to record this semi-professional bluesman, the results of which were released as part of a American folk music series on the Atlantic label. McDowell, for his part, was happy to have some sounds on records, but continued on with his farming and playing for tips outside of Stuckey's candy store in Como for spare change. It wasn't until Chris Strachwitz -- folk blues enthusiast and owner of the fledgling Arhoolie label -- came searching for McDowell to record him that the bluesman's fortunes began to change dramatically.
Two albums, Fred McDowell, Volume 1 and Volume 2, were released on Arhoolie in the mid-'60s, and the shock waves were felt throughout the folk-blues community. Here was a bluesman with a repertoire of uncommon depth, putting it over with great emotional force and to top it all off, had seemingly slipped through the cracks of late-'20s/early-'30s field recordings. No scratchy, highly prized 78s on Paramount or Vocalion to use as a yardstick to measure his current worth, no romantic stories about him disappearing into the Delta for decades at a time to become a professional gambler or a preacher. No, Mississippi Fred McDowell had been in his adopted home state, farming and playing all along, and the world coming to his doorstep seemed to ruffle him no more than the little boy down the street delivering the local newspaper.
The success of the Arhoolie recordings suddenly found McDowell very much in demand on the folk and festival circuit, where his quiet good natured performances left many a fan utterly spellbound. Working everything from the Newport Folk Festival to coffeehouse dates to becoming a member of the American Folk Blues Festival in Europe, McDowell suddenly had more listings in his resume in a couple of years than he had in the previous three decades combined. He was also well documented on film, with appearances in The Blues Maker (1968), his own documentary Fred McDowell (1969) and Roots of American Music: Country and Urban Music (1970) being among them.
By the end of the decade, he was signed to do a one-off album for Capitol Records (the aforementioned I Do Not Play No Rock'n'Roll ) and his tunes were being mainstreamed into the blues-rock firmament by artists like Bonnie Raitt (who recorded several of his tunes, including notable versions of "Write Me a Few Lines" and "Kokomo") and the Rolling Stones , who included a very authentic version of his classic "You Got to Move" on their Sticky Fingers album. 
Unfortunately, this career largess didn't last much longer, as McDowell was diagnosed with cancer while performing dates into 1971. His playing days suddenly behind him, he lingered for a few months into July of 1972, finally succumbing to the disease at age 68. And right to the end, the man remained true to his word; he didn't play any rock & roll, just the straight, natural blues.
Fred McDowell - Wikipedia

Jay McShann1916
Jay McShann
Jay McShann (January 12, 1916 – December 7, 2006) was an American Grammy Award-nominated jump blues, mainstream jazz, and swing bandleader, pianist and singer.
During the 1940s, McShann was at the forefront of blues and hard bop jazz musicians mainly from Kansas City. He assembled his own big band, with musicians that included some of the most influential artists of their time, including Charlie Parker, Bernard Anderson, Ben Webster and Walter Brown. His kind of music became known as "the Kansas City sound".
McShann died on December 7, 2006, at St. Luke's Hospital in Kansas City. Jay McShann was survived by his companion of more than 30 years, Thelma Adams (known as Marianne McShann), and three daughters - Linda McShann Gerber, Jayne McShann Lewis, and Pam McShann.
Jay McShann
Jay McShann All Music Guide Bio
Interview of McShann from 1987 NPR Fresh Air rebroadcast December 8, 2006

'Tex' Ritter, 'Cowboy' Singer
b: near Murvaul, TX, USA
d. Jan. 2, 1974, Nashville, TN, USA.
(Cardiac Arrest).
né: Maurice Woodward Ritter, country music's most popular stars in the 1940's, died of a heart attack while visiting a jail in Nashville, TN, where he was arranging bail for one of his band members.

Bert Thomas, Banjo/Guitar
b. Swansea, Glamorgan, Wales, UK.

"Trummy" Young, Trombone
b. Savannah, GA, USA
d. Sept., 10, 1984.
né: James Osborne Young.
Best recalled for his work with the Jimmy Lunceford orchestra. Biography
~by Scott Yanow 

Trummy Young was one of the finest trombonists to emerge during the swing era and, even though he was never really a star or a bandleader himself, he did have one hit with his version of "Margie," which he played and sang with Jimmy Lunceford's Orchestra. 
Growing up in Washington, Young was originally a trumpeter, but by the time he debuted in 1928 he had switched to trombone. Extending the range and power of his instrument, Young was a major asset to Earl Hines ' orchestra during 1933-1937 and really became a major influence in jazz while with Lunceford (1937-1943). 
Young was a modern swing stylist with an open mind who fit in well with Charlie Parker and Dizzy Gillespie on a Clyde Hart -led session in 1945, and with Jazz at the Philharmonic . It was therefore a surprise when he joined the Louis Armstrong All-Stars in 1952 and stayed a dozen years. Trummy Young was a good foil for Armstrong (most memorably on their 1954 recording of "St. Louis Blues"), but he simplified his style due to his love for the trumpeter. In 1964, Young quit the road to settle in Hawaii, occasionally emerging for jazz parties and special appearances.

Notable Events Occurring
On This Date Include...

Comic singing duo Collins and Harlan record a second version of their song That Funny Jas Band From Dixieland for Victor Records, in New York City, USA. This is the first song title to make use of the word 'jas', an early spelling of 'jazz'.


Louis Armstrong joins the Fletcher Henderson Orchestra in New York City.

Composers Rudolph Friml and Herbert Stothart operetta "Rose Marie," with book and lyrics by Oscar Hammerstein II, and Otto Harbach, received its Canadian premiere at the Royal Alexandra Theatre in Toronto. It had opened on Broadway in September 1924.

After five years together, The Ink Spots gained national attention with their first Hit record: "If I Didn't Care". Many other hits followed.

Jack Cooper
1st American Black "DJ"
died in Chicago, IL, USA.
Age: 82

Songs Recorded/Released
On This Date Include:


Paul Whiteman and his Orchestra
  • “Honolulu Eyes” (Introducing "I'm in Heaven When I'm in My Mother's Arms) - Whistling by Margaret McKee, (Violinsky / Milton Ager).


Edith Wilson accompanied by her Jazz Band


Fletcher Henderson Orchestra - “I'll See You In My Dreams”, (Gus Kahn / Isham Jones)

Johnny De Droit and his New Orleans Orchestra


Jack Hylton And His Orchestra
  • Sleepy-Time Gal
  • Memory's Melody
  • You Must Have A Little Bit Of Fun

Percival Mackey's Band
  • Ukelele Lullaby
  • Oh How I've Waited For You
  • Keep Your Skirts Down Mary Ann
  • Ida - I Do


Red Nichols' Five Pennies


Paul Whiteman's Original Rhythm Boys - “From Monday On” (Harry Barris / Bing Crosby)

Clarence Williams' Jazz Kings 

Sonny Clay's Plantation Orchestra 

  • “In My Dreams (I'm Jealous Of You)” (Leon / Otis / Rene)


The Music Masters (a pseudonym for Jay Whidden And His Band)

  • I Can't Give You Anything But Love
  • Just Like A Melody Out Of The Sky


Guy Lombardo And His Royal Canadians (Bing Crosby vocals) - Young And Healthy (Harry Warren composition)


Al Bowlly, accompanied by Ray Noble and his Orchestra - Blue Moon

Al Bowlly, accompanied by Ray Noble and his Orchestra - You And The Night And The Music


(Gene Austin / Irving Mills / Jimmy McHugh)

When my sugar walks down the street
The little birdies go "Tweet, tweet, tweet"
And in the evenin' when the sun go down
It's never dark when she's around

She's so affectionate I'll say this
And when she kisses me I'll stay kissed
When my sugar walks down the street
The little birdies go "Tweet, tweet, tweet"

When my sugar walks down the street
The little birdies go "Tweet, tweet, tweet"
And in the evenin' when the sun go down
It's never dark when she's around

She's so affectionate I'll say this
And when she kisses me I'll stay kissed
When my sugar walks down the street
The little birdies go "Tweet, tweet, tweet"

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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