The Blue Devils
After bandleader Bennie Moten raided the Blue Devils: Leroy "Snake" White, Jap Jones, Doc Ross, Leonard Chadwick, Lester Young, George Young, Ernie Williams, Henry "Buster" Smith, Charlie Washington, Reuben Lynch, Druie Bess, Abe Bolar, Raymond Howell; c. 1932
courtesy Kansas City Museum
Abe Bolar, Bass
b. Oklahoma City, OK, USA.
Starting at about the age of 14, Abe Bolar was playing bass in a variety of local combos around Guthrie, OK. Within a few years he had gone completely professional and relocated to Oklahoma City, with a music scene that was twice as lively and fives times as rowdy. In the early '30s, the bassist eased into the lineup of the famous Blue Devils band of Kansas City, a launching pad for all manner of heavyweight classic jazz activity. In Bolar's case this meant an invitation to New York City, where he began gigging with trumpeter Hot Lips Page.
An important page turned for Bolar in 1940, literally, as in bassist Walter Page, who put Bolar to work as his substitute in the Count Basie band, basically a graduate course in timekeeping. Bolar also played regularly with the fortunate Lucky Millinder during this period and became more active as a freelance entity at recording sessions. The bassist also developed something of extreme value on the Big Apple jazz scene, as in a regular long-term gig. A combo formed with pianist Benton Heath and several other sidemen wound up with a booking at the New Gardens club that lasted nearly two decades. Whether this engagement left a positive impression or not on the bassist is up for grabs, since his reaction to the end of the gig was to leave full-time music and become a taxi driver.
~ Eugene Chadbourne
Abe Bolar

Sam Browne
b. March 26, 1899, London, England
d. March 2, 1972, England, UK
Sam Browne (1898 – 1972) was an English dance band singer, who became one of the most popular British dance band vocalists of the 1930s. He is remembered for singing with Jack Hylton and with Ambrose and his Orchestra, at the Mayfair Hotel and Embassy Club, with whom he made many recordings from 1930 to 1942, and for his duets and variety performances with the singer, Elsie Carlisle.
WATCH: Ambrose with Sam Browne
WATCH: Evelyn Dall, Sam Browne & Ambrose


Born in London, England, Sam Browne's first recording was made with the Jack Hylton band on 23 August 1928, "That's My Weakness Now", issued on HMV B5520. The band at that time included Jack Jackson (trumpet), Lew Davis and Leo Vauchant (trombone), Chappie D'Amato, E.O. Pogson, Billy Ternent (reeds) and Hugo Rignold (vn).
Over approximately a year and a half, Browne made over 100 records with Hylton, including sessions in Berlin and Milan, and was to return to the studios with the Hylton band between 1938 and 1940.

Browne first recorded with Bert Ambrose's band on 8 February 1930, the titles, on the Decca label, were "A Little Kiss Each Morning" and "Body And Soul". It was recorded again on 22 February with a violin solo by Eric Siday. By March 1930, Ambrose had switched to the HMV label, and more Browne recordings began to appear such as "Moanin' For You" (B5813) "Cryin' For The Carolines" (B5814), "A Bench in The Park" (B5842) and "Leven Thirty Saturday Night" (B5847).

Browne's work with Ambrose took him to Monte Carlo and Biarritz, coupled with regular radio broadcasts from the Mayfair Hotel. Browne and Elsie Carlisle became a popular singing pair with Ambrose. One of his more interesting records was from 1932, entitled "The Sun Has Got His Hat On".

A reader of music, Browne's confident and warm delivery made him popular with bandleaders and record buyers. With the publication of a full discography it is now clear that Browne made over 2,000 recordings. Some of the other bands that featured him included Alfredo (on Edison), Bertini (on Eclipse), Harry Bidgood (on Broadcast), Harry Hudson (also on Edison) and Lew Stone (Decca).

Browne was featured in several British films, including Calling All Stars, Variety Parade and Hi Gang, as well as on numerous film shorts.
Browne worked with Bebe Daniels and Ben Lyon during World War II in the 'Hi Gang' radio series, and after the war continued to tour and record.
"Internet Archive Search: Sam Browne - (multimedia content in the public domain)"
Vintage Dance Band and Jazz on 78rpm Records

Brun Campbell
Rags pianist/composer
b. Washington, KS, USA.
d. May 26th, 1949, New York, NY, USA.
Among Campbell's compositions are his Essay in Ragtime", "Salome's Slow Drag", and "Lulu White".
Brun Campbell (March 26, 1884—November 23, 1952) was an American composer and pianist. Born Sanford Brunson Campbell in Oberlin, Kansas, he ran away to Oklahoma City when he was fifteen and met Scott Joplin. For the next decade, he made his living as a traveling pianist in the Midwestern and Southern United States. In 1908, he married and settled down to become a barber.
Toward the end of his life, he wrote about ragtime and made recordings. He died in Venice, California. None of his compositions were copyrighted or published during his lifetime. However, they became known from recordings he made in the 1940s and early 1950s. In 1993, Richard Egan, Jr. published Brun Campbell: The Music of "The Ragtime Kid", a collection of transcriptions of Campbell pieces. In 2000, David Thomas Roberts recorded an album of Campbell's music, which was released on CD by Pianomania Music Publishing of Roseville, California.
"Flip" Philips, Tenor Sax
b. New York, NY, USA
d.Aug. 17, 2001
by Scott Yanow
Flip Phillips, who angered some critics early on because he gained riotous applause for his exciting solos during Jazz at the Philharmonic concerts, for over 50 years was an excellent tenor saxophonist equally gifted on stomps, ballads, and standards. He played clarinet regularly in a Brooklyn restaurant during 1934-1939, was in Frankie Newton's group (1940-1941), and spent time in the bands of Benny Goodman, Wingy Manone, and Red Norvo. However, it was in 1944 that he had his breakthrough.

As a well-featured soloist with Woody Herman's Herd (1944-1946), Phillips became a big star. His warm tenor was most influenced by Ben Webster but sounded distinctive even at that early stage. He toured regularly with Jazz at the Philharmonic during 1946-1957, scoring a bit of a sensation with his honking solo on "Perdido" and holding his own with heavy competition (including Charlie Parker and Lester Young). He occasionally co-led a group with Bill Harris, and that band was the nucleus of the ensemble that Benny Goodman used in 1959.
Phillips then retired to Florida for 15 years, playing on just an occasional basis, taking up the bass clarinet as a double and making only a sporadic record date. But by 1975 he was back in music full-time, making quite a few records and playing at festivals and jazz parties. Even as he passed his 80th birthday, Flip Phillips had lost none of the enthusiasm or ability that he had a half-century earlier.

Vic Schoen
b. Brookln, NY.
Vic's orchestra was primarily a "Studio" band. He backed many radio shows including Bing Crosby show; Patti Page Olds Show and many others.
Vic Schoen was one of busiest arranger/conductors in popular music from the late '30s through the '60s. Although never as acclaimed as contemporaries Nelson Riddle or Gordon Jenkins, he amassed an extraordinary record of successes working with Dinah Shore, Bing Crosby, Danny Kaye, Ethel Merman, Andy Williams, and, most notably, the Andrews Sisters, his name and work attached to dozens of hit records and most of their biggest successes.
Schoen initially entered music as a trumpeter, and in the mid-'30s began establishing himself as an arranger, a field in which he was entirely self-taught. Fate played its hand in Schoen's career when he was hired by bandleader Leon Belasco to work with a young trio called the Andrews Sisters. He helped get them the radio appearance that led to an audition and recording contract with Decca Records late in 1937, and played on their all-important second recording session, which yielded "Bei Mir Bist du Schoen," the first hit for the trio, in early 1938.
Although the Andrews Sisters would occasionally record with established bands and, particularly in their later years at Decca, with Gordon Jenkins, Schoen became the arranger and conductor they most often worked with, he forming his own orchestra in 1938 and backing them on stage and on screen, as well as in the studio, for the next decade. Schoen, whose own self-taught approach to arranging probably made him compatible with the Andrews sisters -- none of whom could read music, became their closest creative partner, and was an essential part of the trio's sound during their biggest years. Even on songs that he didn't appreciate, such as "Beer Barrel Polka," his arrangements were successful, while on numbers like "Boogie Woogie Bugle Boy," which captured his interest, Schoen was downright inspired, even ascending to brilliance.
His record of success with the Andrews Sisters quickly established Schoen as a much sought-after arranger and conductor, and the '40s were extremely busy years for him, occasionally with other singers, including Ella Fitzgerald, Dinah Shore, Dick Haymes, Bob Hope, and Bing Crosby (including his hit "Don't Fence Me In"), but primarily with the Andrews Sisters. He remained associated with the trio until the end of the decade, when a combination of shifting personal relationships and changes in the public's musical taste led to his resignation.
He moved on to arranging for Patti Page, the Weavers, Andy Williams, Pat Boone, and other major artists of the '50s, and also became an arranger for television. He also occasionally returned to work with the Andrews' at Capitol Records during the mid-'50s, even as he moved between labels for his own recordings, cutting pop instrumental albums for Decca, Kapp, and Liberty Records, and "space age" pop music for RCA, as well as a pair of bossa nova albums on the Mainstream label.
~ Bruce Eder

Rufus Thomas
R&B vocals
b. Cayce, MS, USA
d. Dec. 15, 2001, Memphis, TN, USA.
~Richie Unterberger
Few of rock & roll's founding figures are as likable as Rufus Thomas. From the 1940s onward, he has personified Memphis music; his small but witty cameo role in Jim Jarmusch's Mystery Train, a film which satirizes and enshrines the city's role in popular culture, was entirely appropriate. As a recording artist, he wasn't a major innovator, but he could always be depended upon for some good, silly, and/or outrageous fun with his soul dance tunes. He was one of the few rock or soul stars to reach his commercial and artistic peak in middle age, and was a crucial mentor to many important Memphis blues, rock, and soul musicians...

Billy Wallace
C&W singer-songwriter
b. Oklahoma City, OK.

Notable Events Occurring 
On This Date Include:

Eddie Lang, guitar
died in New York, NY, USA.
Age: 30.

Jimmie Lunceford Orchestra recorded "Battle Axe" (Decca).
In the late 1920s, Lunceford had begun with the Chickasaw Syncopaters, a 10-piece band.

Rev. Jack Harp, gospel guitar
died in Pensacola, FL, USA.
Age: 50

Harold John Breau
Member: "Lone Pine & Betty Cody"
died in Maine, USA.
(Harold John Breau (Lone Pine)
b. June 5, 1916, Pea Cove, Maine, USA.
d. March 26, 1977, USA.
Betty, Vocals/Guitar. b. August 17, 1921, b. Sherbrooke, Quebec, Canada. née: Rita M. Cote).

Songs Recorded/Released
On This Date Include:


Joseph C. Smith's Orchestra
  • This Way Out
  • You're In Love Medley Fox Trot


Marion Harris - Left All Alone Again Blues


Waring's Pennsylvanians - Down Home Blues


Paul Whiteman and his Orchestra
  • Tentin' Down In Tennessee


Harry Reser and his Orchestra
  • Just The Same - (Tom Stacks vocal)


Johnny Dunn and his Band - Original Bugle Blues

Paul Ash and his Orchestra - Dolores - Vocal chorus by Paul Small & Gang
  • My Pet - Vocal chorus by Paul Small


Paul Whiteman and his Orchestra - Shall We Dance?
  • For You


Left All Alone Again Blues (1920)
~by Jerome Kern (music) and Anne Caldwell (lyrics)
~Information about this edition Song from the musical The Night Boat.

I have the blues,
Ev'ry time my hubby leaves me
I have the blues
Because it peeves me to be left here flat here
Just like a bump on a log.
I said on a log.

No women knows
If she has a travlin' husband
just where he goes
Unless she follows on and nails him, trails him
Just like a faithful old dog.

That old song
"Where has my Highland laddie gone"
It says a mouthful
We never do know
Just where they do go
How they keep us guessing
Isn't it distressing!

I have the blues
When my hubby leaves,
although I wouldn't accuse
Each time he says "Good-Bye"
I get those same old left all alone again blues.

I have the blues
Ever since he married me,
I sure have the blues
Because I used to have a good time, all time,
Every time I might roam.
I said when I'd roam.

When first we met
We could render a duet
But now Hubby sings
"I won't go Home 'til morning"
Never one short stanza of "Home Sweet Home"

I like cats
I'm fond of rabbits
I like dogs
And even gold fish
It's lucky maybe
For there's a baby
Grand piano coming
Then I'll start a humming:

I have the blues
Only hubby dear can cure
my terrible blues
Each time he says "Good-Bye"
I get those dog gone left all alone again blues.

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