Leon Joseph Roppolo/Rappolo, Clarinet
b. Lutcher, LA, USA.
d. Oct. 5, 1943, New Orleans, LA, USA.
In 1912, his family moved to New Orleans, where Roppolo was soon a part of the local musical scene playing clarinet with such future stars as the Brunies boys, Paul and Joe Mares, Louis and Leon Prima, Emmett Hardy, and the Loyacanos. In December 1920, Roppolo together with Emmett Hardy, Santo Pecora, and Johnny Frisco, joined Bee Palmer's vaudeville act "Oh Bee!" with whom they toured to Chicago. 
This 1924 Photograph of (left to right) Leon Roppolo (playing the quitar), Louis Prima, Peck Kelly, Don (unknown). The Inscription reads: "Ropp hitting a few cords for the boys." The image was likely shot at the New Orleans lakefront. From the photo collection of Dr. Edmond Souchon
Three months later, in March 1921, the act broke up. Roppolo and Hardy then joined Carlisle Evans' band in Davenport, Iowa for the summer season, after which Roppolo joined trombonist George Brunies and cornetist Paul Mares in Chicago and formed the "New Orleans Rhythm Kings" (NORK). For the next 18 months, the NORK played dance music at a basement cabaret called Friars Inn (Wabash and Van Buren Streets), and during 1922 and 1923, they recorded three sessions for the Gennett label. It should be noted that Chicagoans went wild over the music.
The New Orleans Rhythm Kings in 1922 Left to right: Leon Roppolo, Jack Pettis, Elmer Schoebel, Arnold Loyacano, Paul Mares, Frank Snyder, George Brunies.
The NORK were to Chicago what the Original Dixieland Jazz Band (ODJB) were to New York. It was a very exciting time for 'Dixieland' and 'Jazz'. It was also a time when these early Jazzmen were into drugs, - mainly marijuana During the NORK's stay at Friar's Inn, many observers noted that at the end of a set, Roppolo was often so high on marijuana that he couldn't get up out of his chair. He was also known to occasionally throw his clarinet against the wall when the drug affected his playing. With NORK's disbanding, Roppolo and Mares very briefly joined Al Siegel's band playing in New York's Greenwich Village section, and just a few weeks later, returned to Chicago and recorded with a slightly different lineup of the NORK. For a time, Roppolo played with Peck's Bad Boys in Texas, then rejoined Carlisle Evans for a job at the Marigold Ballroom in Minneapolis.
In 1925, he returned to New Orleans and the Halfway House Orchestra He recorded - for the Okeh label, with the Halfway House Orchestra and on the very next day, with a new version of the New Orleans Rhythm Kings that included Mares, trombonist Santo Pecora, and several members of the Halfway House Orchestra. Two months later, at a Victor recording session, Roppolo stormed out of the session after an argument with Santos Pecora, and was replaced by Charlie Cordilla of the Halfway House Orchestra.

(Some writers have noted that Leon's brother, Nick Roppolo, went into the recording studio and threatened Charlie Cordilla with bodily harm if he copied his brother's solo on "She's Crying For Me"). Not long after this, Roppolo's family had him committed to the Louisiana State Asylum for the Insane because they no longer handle his heavy marijuana use or his violent temper, Even at the Asylum, he played saxophone in the hospital band, and, when given a weekend pass, would sometimes play in New Orleans clubs. On October 14, 1943, at just age 41, Leon died.
Son "Brownsville" Bonds, guitar
b. Brownsville, TN 
An associate of Sleepy John Estes and Hammie Nixon, Bonds played very much in the same rural Brownsville style that the Estes-Nixon team popularized in the '20s and '30s. Curiously, either Estes or Nixon (but never both of them together) played on all of Bonds's recordings. The music to one of Bonds's songs, "Back and Side Blues" (1934), became a standard blues melody when John Lee "Sonny Boy" Williamson from nearby Jackson, TN, used it in his classic "Good Morning, (Little) School Girl" (1937). According to Nixon, Bonds was shot to death, while sitting on his front porch, by a nearsighted neighbor who mistook him for another man. 
~ Jim O'Neal

James "Butch" Cage, fiddle
b. Hamburg, MS, USA. 
Fiddler James "Butch" Cage was one of the last exponents of the 19th century black string band tradition, and his wild, kinetic playing represents a world that is all but lost in the current century. Born on March 16, 1894, in Hamburg, MS, Cage's first real instrument was a cane fife, and he also became a credible guitar player, but his musical soul mate was to be the fiddle, and his wild, energetic lines on the instrument had a truly African feel. He moved to southwest Louisiana following the devastating Mississippi floods of 1927, eventually settling in Zachary, where he worked a succession of menial jobs while playing string band music at house parties and church functions, often in conjunction with guitarist Willie B. Thomas.
Musicologist Harry Oster heard the pair playing in Zachary in 1959, and Oster's field recordings of Cage and Thomas became a wonderful glimpse at the pre-blues black string band tradition. The duo was also a huge hit at the 1960 Newport Folk Festival, no doubt appearing to most of the audience as if they had stepped right out of the haze of a vanished era. Many fans and reviewers have called Cage a Cajun fiddler, but his approach was really from an older tradition, the African one that led to the Mississippi string band. This marvelous and haunting fiddle style can be heard on the phenomenal Country Negro Jam Sessions (Arhoolie 1961), Raise a Ruckus Tonight (Flyright 1979), and Old Time Black Southern String Band Music (Arhoolie 2006). Butch Cage died in Zachary in 1975. 
~ Steve Leggett

Sammy Gallop
b. Duluth, MN, USA
d. 1971, Hollywood, California, USA. 
This lyricist was educated at Duluth Junior College. He later wrote revues for New York's Latin Quarter nightclub, and also songs for the Broadway musicals "Star and Garter", "John Murray Anderson's Almanac" and "All For Love". Among his musical collaborators were Steve Allen, Jerry Livingston, Elmer Albrecht, Milton Delugg, Peter DeRose, Rube Bloom, David Rose, Guy Wood, David Saxon, Howard Steiner, Chester Conn, and James Van Heusen.
Among his better known compositions are "Shoofly Pie and Apple Pan Dowdy", "Wake the Town and Tell the People", "Elmer's Tune", "Meet Me Where They Play the Blues", "Maybe You'll Be There", "Half as Lovely", "Autumn Serenade","There Must Be a Way", "Outside of Heaven", "Somewhere Along the Way", "My Lady Loves to Dance", "Make Her Mine", "Forgive My Heart", "No Good Man", "Caribbean Clipper", "Vagabond Shoes", "Night Lights", "The Right Thing to Say" and "Bluebird Singing in My Heart". 

Hare mimes his displeasure over Prohibition
Ernie Hare, singer 
b. Norfolk, VA, USA. 
d., March 9, 1939. 
One half of 'The Happiness Boys', with Billy Jones. 
né: Thomas Ernest Hare (a bass/baritone). 
Thomas Ernest Hare (March 16, 1883 - March 9, 1939, Queens, New York) was a bass/baritone who recorded prolifically during the 1920s and 1930s, finding fame as a radio star on The Happiness Boys radio program.
Ernie Hare's recording career began in 1918. He was Al Jolson's understudy in Sinbad during 1919-20. He recorded with the Cleartone Four, the Crescent Trio, the Harmonizers Quartet and the Premier Quartet. He made a series recordings with Al Bernard in the late 1910s and the start of the 1920s. As a soloist, he worked under a variety of names (Wallace Daniels, Arthur Grant, Henry Jones, Robert Judson, Walter Lang, Walter Leslie, Roy Roberts, Bob Thomas, Bob Thompson, "Hobo" Jack Turner, Frank Mann).

After he met Billy Jones in 1919, they teamed in 1920 when Brunswick executive Gus Haenschen had them sing an accompaniment on a Brunswick recording. They went on to do numerous recordings together for Brunswick, Edison and most other major U.S. record companies of the era. Similarities between the two singers were often noted: same height, same weight, and birthdays a few days apart. They began on radio October 18, 1921 on WJZ (Newark, New Jersey). Sponsored by Happiness Candy, they were heard as the Happiness Boys beginning August 22, 1923 on New York's WEAF, moving to NBC for a run from 1926 to 1929. As the Happiness Boys, they sang popular tunes, mostly light fare and comic songs, with jokes and patter between numbers.

Billy Jones and Ernie Hare
By 1928, they were the highest-paid singers in radio, earning $1,250 a week. After Hare's death in 1939 of bronchopneumonia, Jones continued to perform, teaming in 1939-40 with Hare's 16-year-old daughter, Marilyn Hare (1923-1981). Jones died November 23, 1940. Marilyn Hare went on to a career as an actress in films, Soundies, and television, and she also toured as a vocalist.
Al Hahn, leader
d. Oct. 1980 

Mills Blue Rhythm Band. From left to right: George Washington, J. C. Higginbotham, Henry "Red" Allen, Wardell Jones and Shelton Hemphill
Shelton Hemphill
trumpet, d. 1959
A fine section trumpeter who unfortunately rarely had opportunities to solo, Hemphill was a part of several major orchestras. Early on Hemphill toured with Bessie Smith as part of Fred Longshaw's band (1924). After attending Wilberforce College, he worked with Horace Henderson's Collegians.
Hemphill was with Benny Carter (1928-29), Chick Webb (1930-31), the Mills Blue Rhythm Band (1931-37), Louis Armstrong's Orchestra (1937-44) and Duke Ellington (1944-49). After leaving Ellington, Shelton Hemphill (who never led his own record date) freelanced for a time but eventually retired from playing due to ill health.
~ Scott Yanow

Leslie "Jiver" Hutchinson
b. Kingston-Jamaica, BWI
d. Nov. 1959, Norfolk County, UK. 
Leslie George "Jiver" Hutchinson was a Jamaican jazz trumpeter and bandleader. Hutchinson played in the band of Bertie King in Jamaica in the 1930s, then moved to England, where he played with Happy Blake's Cuba Club Band. In 1936 he played in Leslie Thompson's Emperors of Jazz and in 1938 with Ken Snakehips Johnson, then joined Geraldo's band in 1939.
He led his own ensemble from 1944 to 1950, featuring many of the musicians from Thompson's band. His ensemble toured the UK and Europe, and did concerts in India in 1945. He also recorded with the ensemble in 1947. He returned to play with Geraldo after the group's dissolution, and recorded with Mary Lou Williams in 1952.
Hutchinson was killed in a car crash in Weeting in 1959 while on tour with his band. His daughter is the singer Elaine Delmar.
~The Big Band Database
*Wikipedia lists date of birth as March 6, 1906 - dates vary.
If anyone out there can confirm his date of birth - please let me know. 

File:Elsie Janis 4.jpg
Elsie Janis
Elsie Janis (March 16, 1889 – February 26, 1956) was an American singer, songwriter, actress, and screenwriter. Entertaining the troops during World War I immortalized her as "the sweetheart of the AEF" (American Expeditionary Force).

Early career
Born Elsie Bierbower (or Beerbower) in Marion, Ohio, she first took to the stage at age 2. By age 11, she was a headliner on the vaudeville circuit, performing under the name "Little Elsie". As she matured, using the stage name Elsie Janis, she began perfecting her comedic skills.

Acclaimed by American and British critics, Janis was a headliner on Broadway and London. On Broadway, she starred in a number of successful shows, including The Vanderbilt Cup (1906), The Hoyden (1907), The Slim Princess (1911), and The Century Girl (1916).

Elsie performed at the grand opening of the Brown Theatre in Louisville, Kentucky, on October 5, 1925.
Janis also enjoyed a career as a Hollywood screenwriter, actor, and composer. She was credited with the original story for Close Harmony (1929) and as composer and production manager for Paramount on Parade (1930). She and director Edmund Goulding wrote the song "Love, Your Magic Spell Is Everywhere" for Gloria Swanson for her talkie debut film The Trespasser (1929). Janis's song "Oh, Give Me Time for Tenderness" was featured in the Bette Davis movie Dark Victory (1939), also directed by Goulding. In 1934, Janis became the first female announcer on the NBC radio network.
Elsie Janis, 17 years old, in The Vanderbilt Cup 1906. She's dressed in early automobile attire. In the play she drives a car on stage.
World War I
Janis was a tireless advocate for British and American soldiers fighting in World War I. She raised funds for Liberty Bonds. Janis also took her act on the road, entertaining troops stationed near the front lines – one of the first popular American artists to do so in a war fought on foreign soil. Ten days after the armistice she recorded for HMV several numbers from her revue Hullo, America, including Give Me the Moonlight, Give Me the Girl. She wrote about her wartime experiences in The Big Show: My Six Months with the American Expeditionary Forces (published in 1919), and recreated them in a 1926 Vitaphone musical short, Behind the Lines.

A new musical about this period of her life called Elsie Janis and the Boys, written by Carol J. Crittenden and composer John T. Prestianni, premiered under the direction of Charles A. Wallace as part of the Rotunda Theatre Series in the Wortley-Peabody Theater in Dallas, Texas, on August 15, 2014.

Later life
Janis maintained her private home, ElJan, on the east side of High Street in Columbus, Ohio, across the street from what was Ohio State University's "Ohio Field", the precursor to Ohio Stadium. Janis sold the house following her mother's death.

In 1932, Janis married Gilbert Wilson, who was sixteen years her junior. The couple lived in the Phillipse Manor section of Sleepy Hollow, New York, formerly named North Tarrytown, until Janis moved to the Los Angeles area of California where she lived until her death. Her final film was the 1940 Women in War co-starring Wendy Barrie and Peter Cushing.

Elsie Janis died in 1956 at her home in Beverly Hills, California, aged 66, and was interred in the Forest Lawn Memorial Park Cemetery in Glendale, California. For her contribution to the motion picture industry, Elsie Janis has a star on the Hollywood Walk of Fame at 6776 Hollywood Blvd.

Bob Lessey, Guitar
b. British West Indies
An early hero of big band guitar, Bob Lessey was born in the British West Indies and did most of his recordings in the '30s. His professional career began along with that era, the guitarist plunking chord changes for an orchestra led by trumpeter Tommy Jones, based out of New York City. Lessey was next associated with Bill Brown and the influential Sam Wooding, joined the group of Tiny Bradshaw in 1934, and the following year began an affiliation with Fletcher Henderson. Lessey, along with fellow guitarist Lawrence Lucie, could be said to have begun writing a book about the subtle art of playing an instrument that was basically barely audible in such a large group -- that is if anyone had bothered to write any of it down.
From here Lessey moved to Don Redman & His Orchestra, performing and recording innovative big band arrangements through 1940. The guitarist's distinguished work in these settings can be examined on Redman collections such as the 1994 Doin' What I Please. In the '40s, doing what Lessey pleased seemed to involve playing less music, although the man has apparently never filed his guitar case away permanently. His final full-time job was with Lucky Millinder; after 1941, Lessey began working for the city of New York. 
~ Eugene Chadbourne

James C. Petrillo
Head of the American Federation of Musicians (AFM)
b. Chicago, IL, USA, d. October 23, 1984
James Caesar Petrillo was the prominent leader of the American Federation of Musicians, a trade union of professional musicians in the United States and Canada.
Petrillo was born in Chicago, Illinois. Though in his youth Petrillo played the trumpet, he finally made a career out of organizing musicians into the union starting in 1919. Petrillo became president of the Chicago Local 10 of the musician's union in 1922, and was president of the American Federation of Musicians from 1940 to 1958. He continued being the prime force in the Union for another decade; in the 1960s he was head of the Union's "Civil Rights Division", which saw to the desegregation of the local unions and the venues where musicians played.
Petrillo dominated the union with absolute authority. His most famous actions were banning all commercial recordings by union members from 1942–1944 and again in 1948 to pressure record companies to give better royalty deals to musicians; these were called the Petrillo Bans.
Petrillo was well known to the US general public and referenced in pop-culture of the era. For example, in the 1950 Warner Brothers animated short Hurdy-Gurdy Hare starring Bugs Bunny, the cartoon ends with Bugs making large amounts of money by having a (presumably non-union) monkey turn a street organ, during which he quips, "I sure hope Petrillo doesn't hear about this!" Phil Harris, the band leader on the Jack Benny radio show, once claimed on the show to have been married to his wife, Alice Faye, by Petrillo. When Jack Benny asked how Petrillo could do this, Harris replies "Why not? - my dues was paid up!".
In the 1950 burlesque revue "Everybody's Girl" the comedians Bobby Faye and Leon DeVoe, playing anti-nudist street preachers, mention that the Devil has "two horns." DeVoe then jokes, "Two horns? Brother, we'll have to speak to Petrillo about that!"
In the 1952 Hope/Crosby film "Road to Bali," Hope shows Crosby an instrument he's been using in his snake-charmer act. He quips, "Hey, I've been playing this flute all night. Have to clear it with Petrillo."
The Petrillo Bandshell, in Chicago's Grant Park, is named after James Petrillo.
Yank Rachell
b. Brownsville, TN, USA 
~by Uncle Dave Lewis
James "Yank" Rachell was the primary exponent of blues mandolin, although he also played guitar, violin, harp and sang expertly well. Born on a farm outside Brownsville, Tennessee, Yank Rachell picked up the mandolin at the age of eight, mainly teaching himself; an early encounter with "Hambone" Willie Newbern early on helped him as well. Rachell began to work dances with singer and guitarist Sleepy John Estes in the early '20s. In early 1929, he co-formed the Three J's Jug Band with Estes and pianist Jab Jones. The Three J's Jug Band were an instant hit and managed to work the dances during the lucrative jug-band craze in Memphis and traveled often to Paducah, Kentucky. 
The group recorded 14 sides credited jointly to Estes and Rachell for Victor for 1929 and 1930.
After the record business was flattened by the depression, the Three J's broke up. Estes and harmonica player Hammie Nixon went on to Chicago to seek their fortune in the nightclubs, but Yank Rachell decided to try his hand at farming and also worked for the L&N Railroad. Ironically, it was Rachell who was next to record -- during a stopover in New York Rachell teamed up with guitarist Dan Smith and laid down 25 titles for ARC in just three days, though only six of them were issued.
Shortly before the ARC date, Yank Rachell had discovered a kid harmonica player that he believed had real talent, John Lee "Sonny Boy" Williamson. They worked together at the Blue Flame Club in Jackson, Tennessee starting in 1933. In 1934 Williamson went north to Chicago. With the success of Williamson's first Bluebird dates of 1937, Rachell decided to join Sonny Boy in Chicago for sessions in March and June of 1938. Yank Rachell also contributed four sides of his own to each session, and then 16 more in 1941 with Sonny Boy backing him up. Some of the 1941 tracks are among his best: "It Seem Like a Dream," "Biscuit Baking Woman," and "Peach Tree Blues" were all successes for both Rachell and Bluebird.
But in 1938, while working in St. Louis with Peetie Wheatstraw, Yank Rachell had married and started to raise a family. During the peak of his musical career, Rachell kept his day job and did not lead "the life," at least not the same one that claimed his friend Sonny Boy Williamson on June 1, 1948. After Williamson's murder, Rachell drifted away from music and relied solely on straight jobs to make his living, settling permanently in Indianapolis in 1958. His wife passed away in 1961, and afterward he began to resume performing.

In 1962, Rachell was re-united with Nixon and Estes, and the three of them began tearing up the college and coffeehouse circuit, recording for Delmark as Yank Rachell's Tennessee Jug Busters. Estes died in 1977, and from that time Rachell worked mainly as a solo act. Yank Rachell was a long-time regular at the Slippery Noodle in Indianapolis, and recorded only sporadically in his last years. Nonetheless, he was working on a new album when he died at age 87.
Junior Raglin, Bass
b. Omaha, NE, USA. 
d. 1955. 
The answer to the trivia question of who replaced Jimmy Blanton in Duke Ellington's Orchestra, Junior Raglin was not up to Blanton's level (no one was at the time) but he was one of the first bassists favorably influenced by his predecessor. His first instrument was the guitar but Raglin was a bassist by the time he played with Eugene Coy's group in Oregon (1938-41).
He actually joined Ellington's big band slightly before Blanton's premature departure (for a short period Duke had returned to using two bassists) and then he was officially the bassist in the big band from late 1941 until Nov. 1945 other than a brief period when he was in the Army. Raglin, who was on many recording dates with Ellington, led his own quartet shortly after leaving Duke and worked with the Dave Rivera trio, Ella Fitzgerald (1946) and Al Hibbler in addition to rejoining Duke a couple times (in 1946 and early in 1955).
Unfortunately illness caused Junior Raglin to largely retire by the late 1940's and he died at the age of 38, never leading a recording session of his own. 
~ Scott Yanow
Don Raye
d. 1985 
Don Raye (March 16, 1909 – January 29, 1985), born Donald MacRae Wilhoite, Jr., in Washington, DC, was an American vaudevillian and songwriter, best known for his songs for the Andrews Sisters such as "Beat Me Daddy, Eight to the Bar", "Just For A Thrill" and "Boogie Woogie Bugle Boy."
While known for such wordy novelty numbers, he also wrote the lyrics to "You Don't Know What Love Is," a simple, poetic lament of unusual power. He also composed the song "(That Place) Down the Road a Piece," one of his boogie woogie songs, which has a medium bright boogie tempo. It was written for the Will Bradley Orchestra, who recorded it in 1940, but the song was destined to become a rock and roll standard, recorded by The Rolling Stones, Chuck Berry, Jerry Lee Lewis, Foghat, Amos Milburn, Harry Gibson, and countless others. In 1940 he wrote the lyrics for the patriotic song "This Is My Country".
His great success with "Beat Me Daddy, Eight to the Bar" led Raye to write the follow-up songs, "Scrub Me Mamma, with a Boogie Beat," "Bounce Me Brother, with a Solid Four," and "Fry Me Cookie, with a Can of Lard."

Alec Seward, guitar
b. Newport News, VA, USA 
There are at least three different blues musicians who utilized the moniker "Guitar Slim." In this case, the "Slim" in question was the first. Born Alec Seward on March 16, 1902, in Charles City, VA, as a child (he had 14 siblings), he picked up the guitar and began playing regularly at local dances. When he turned 18, he packed up and moved to New York with the intention of professionally playing music. Along the way, Seward struck up a friendship with two bluesmen who played in the same acoustic Piedmont style as he did, Brownie McGhee and Sonny Terry.
While the Piedmont style was rapidly becoming outdated and even considered corny in comparison to the newly polished urban blues, Seward stayed true to his roots. Luckily, he also came in contact with another transplanted Carolina country blues stylist who was also striving to make it New York named Louis Hayes, aka both Fat Boy Hayes and Jelly Belly. Sharing similar backgrounds and musical styles, the two began performing as the Blues Servant Boys, Guitar Slim & Jelly Belly, and the Backporch Boys.
While the moniker Guitar Slim was the one that stuck with Seward over the course of his career, he had also taken on several other short-lived aliases, including "Blues Servant Boy," "King Blues," and "Georgia Slim." Over the next two decades, Seward played and recorded with Leadbelly, Woody Guthrie, and Sonny Terry & Brownie McGhee. He also released an album on Blueville, Creepin' Blues, under his real name. Seward's accompaniment on that date was provided by a young guitarist and harmonica player named Larry Johnson. The remainder of the '60s found Seward playing live whenever possible and working the folk/blues festivals that had become popular in that decade. On May 11, 1972, Alec Seward was admitted to a hospital in New York where he died of natural causes. 
~ Al Campbell

"Buddy" Starcher
C&W singer-songwriter
b. (on a farm near) Ripley, WV, USA. 
né: Oby Edgar Starcher
Buddy Starcher (born Oby Edgar Starcher, 16 March 1906, Ripley, West Virginia — died 2 November 2001, Harrisonburg, Virginia) was an American country singer. He starred on his own show on WCHS-TV from 1960 to 1966. However, he is best known for his 1966 spoken word recording entitled "History Repeats Itself", written with Minnie Pearl and released on Boone Records. The track recounts uncanny similarities between the assassinations of Abraham Lincoln and John F. Kennedy.

John Young, piano
b. Little Rock, AR, USA. 
Notable Events Occurring 
On This Date Include:

File:Elsie Janis 4.jpg

Elsie Bierbower is born in Columbus, Ohio, USA. She will become a popular singer, recording artist, Vaudeville and Broadway star under the name Elsie Janis, known during World War One as "the sweetheart of the AEF" [American Expeditionary Force].
Elsie Janis - Wikipedia

Sherman Dudley
Owner (T.O.B.A. circuit)
died in Baltimore, MD, USA. 
Age: 76.
Shug Fisher
Stand-up Bass/Vocals/Comedy 
with the "Sons of the Pioneers," died. 
Herman Lubinsky
label owner (Savoy)
died in Montclair, NJ, USA. 
Age: 77.
Herman Lubinsky

"T-bone" Walker
died in Los Angeles, CA, USA. 
Age: 64.
T-Bone Walker - Wikipedia

Harry Carlson
label owner (Fraternity)
died in Pompano Beach, FL, USA. 
Age: 81.

William Houze, vocals
died in Sacramento, CA, USA. 
Age: 72.
Member: 'The Deep River Boys' 

Songs Recorded/Released 
On This Date Include:


Paul Whiteman and his Orchestra
  • All for You - Happiness
  • Down Around the 'Sip 'Sip 'Sippy Shore
Johnny De Droit and his New Orleans Orchestra
  • Brown Eyes
  • Number Two Blues
  • The Swing

Bennie Krueger and his Orchestra - Don't Bring Lulu - Vocal Chorus By Billy Jones
  • Yearning
The Goofus Five
  • I Had Someone Else Before I Had You (And I'll Have Someone After You've Gone)
  • (I Like Pie, I Like Cake) I Like You Best Of All
Ray Miller's Orchestra - Red Hot Henry Brown
  • Tessie
The Savoy Orpheans
  • It Ain't Gonna Rain No Mo'
  • Fantasie Parts 1 and 2
  • Too Tired
  • Oriental Moon

Louise Vant, accompanied by Perry Bradford's Mean Four - Daddy Don't You Try To Pull That Two Time Thing

  • The Man I Love Is Oh So Good To Me

Charlie Troutt's Melody Artists
  • Mountain City Blues
  • Running After You
  • Sweet Child - Vocal Chorus by Emil Casper
Lee Morse - My Idea Of Heaven (Is To Be In Love With You)

Lee Morse - Side By Side


University Six
  • My Pet
  • She's The Sweeatheart Of Six Other Guys
  • Speedy Boy - Vocals by Jack Kaufman

Harry Reser and his Orchestra - Mississippi Mud - (Tom Stacks vocal)


Bertha "Chippie" Hill - I Ain't Gonna Do It No More
The Cotton Pickers
  • No Parking
  • Sweet Ida Joy - Vocal Chorus by Dick Robertson
The DeBroy Somers Band

Lonnie Johnson - Beautiful But Dumb
  • From A Wash Woman On Up
Ben Selvin and his Orchestra - I'm Crazy 'Bout My Baby (And My Baby's Crazy 'Bout Me)


Ted Lewis and his Band - Sweet Sue - Just You

Al Bowlly, accompanied by Ray Noble and his Orchestra - Three Wishes
Denny Dennis with Roy Fox and his Band - Keep Young And Beautiful


Andy Kirk and his Twelve Clouds Of Joy

Fat's Waller, his Rhythm and his Orchestra

I Like Pie, I Like Cake (But I Like You Best of All)
~George A. Little, Arthur Sizemore, Larry Shay

Romeo, he didn't know
The way to handle women long ago.
Here's a tip from a pip of a lover.
A boy named Henry Brown from Memphis town
Has got a sweetie that he hangs around.
It's a yell when he tells of his love.

I like pie, I like cake
Anything that they bake.
And I like crackers, too.
Broken up in a stew.
I like sweet jelly roll,
I lose all my control
But of all those things, I like you best of all.
I like ma, I like pa
Like our old mule's hee-haw.
Like it down on the farm.
Like the wheat and the corn.
Like the pig in the sty
If I don't, hope to die.
But of all those things, I like you best of all.
Juliet, she never met
A man like Henry, who could love and pet.
What a hot, hot impossible lover.
Still one gal, Henry's pal
Has only got to call and say, "It's Sal"
Watch him run to his honey and say

I like kraut, milk and jam
Chocolate fudge, sugared ham
Dogs and cats, bunnies 
Furnished flats, 
I like beans, and round steak
Was it all just a fake? 
But of all those things, I like you best of all.
I like towns in the north
New Orleans and so forth. 

I like dogs when they fight
I like mine, 'cause he'll bite

But of all those things, 
I like you best of all.


~(Harry Woods) (1925)
See that sun in the morning,
Peeking over the hill?
I'll bet you're sure it always has and sure it always will.
That's how I feel about someone,
How somebody feels about me.
We're sure we love each other
That's the way we'll always be.
Oh, we ain't got a barrel of money,
Maybe we're ragged and funny
But we'll travel along
Singing a song
Side by side.
Don't know what's comin' tomorrow
Maybe it's trouble and sorrow
But we'll travel the road
Sharing our load
Side by side.
Through all kinds of weather
What if the sky should fall?
Just as long as we're together,
It doesn't matter at all.
When they've all had their quarrels and parted
We'll be the same as we started
Just a-traveling along
Singing a song
Side by side.
We're all hunting for something
Something we don't know what
'Cause none of us are satisfied with things we know we've got.
We all forget about moonlight,
As soon as we've given our vow
But we'd all be so happy if we'd start and sing right now:
Oh, we ain't got a barrel of money,
Maybe we're ragged and funny
But we'll travel along
Singing a song
Side by side.
Don't know what's comin' tomorrow
Maybe it's trouble and sorrow
But we'll travel the road
Sharing our load
Side by side.
brought to you by... 
Special Thanks To: 
The Red Hot Jazz Archives,  
The Big Band DatabaseScott Yanow, 

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

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