Ernie "Cag" Cagnolatti, Trumpet
b. Madisonville, LA, USA.
d. 1983, New Orleans, LA, USA.
Ernie Joseph "Cag" Cagnolatti was an American jazz trumpeter.
Cagnolatti began on trumpet around 1929 and played with Herbert Leary from 1933 to 1942, as well as off and on with Sidney Desvigne and Papa Celestin. Cagnolatti was a recurring member of many of the major New Orleans brass bands; he worked in the bands of George Williams in the 1940s and 1950s, and with Alphonse Picou in the early 1950s. He recorded with Paul Barbarin repeatedly over the course of the 1950s and 1960s. He and Jim Robinson collaborated in the early 1960s, and he also recorded with Harold Dejan in 1962 and with the Onward Brass Band in 1968. From 1974 to 1980 Cagnolatti was a mainstay at Preservation Hall. He suffered a stroke in 1980 and did not play afterwards.
"Buddy" Ebsen
b. Belleville, IL, USA.
d. July 6, 2003, Torrance, CA, USA.
Age: 95.
né: Christian Rudolph Ebsen
Buddy Ebsen began his career as a dancer in the late 1920s in a Broadway chorus. He later formed a vaudeville act with his sister Vilma Ebsen, which also appeared on Broadway. In 1935 he and his sister went to Hollywood, where they were signed for the first of MGM's Eleanor Powell movies, Broadway Melody of 1936 (1935). While Vilma retired from stage and screen shortly after this, Buddy starred in two further MGM movies with Powell. Two of his dancing partners were Frances Langford in Born to Dance (1936) and Judy Garland in Broadway Melody of 1938 (1937). They were a little bit taller than Shirley Temple, with whom he danced in Captain January (1936).

MGM studio chief Louis B. Mayer offered him an exclusive contract in 1938, but Ebsen turned it down. In spite of Mayer's warning that he would never get a job in Hollywood again, he was offered the role of the scarecrow in The Wizard of Oz (1939). Ebsen agreed to change roles with Ray Bolger, who was cast as the Tin Man.

Ebsen subsequently became ill from the silver make-up, however, and was replaced by Jack Haley. He returned to the stage, making only a few pictures before he got a role in the Disney production of Davy Crockett, King of the Wild Frontier (1955). After this, he became a straight actor, and later won more fame in his own hit series, "The Beverly Hillbillies" (1962) and "Barnaby Jones" (1973).
Frances Langford & Buddy Ebsen

Edward Eliscu, lyricist
d. June 1998
Lyricist Edward Eliscu was a playwright, actor, and producer who worked on Broadway and in Hollywood. Born in N.Y.C., in 1902, Eliscu studied at CCNY, then worked as a minor actor on Broadway, appearing in such plays as The Racket and Quarantine. As a playwright, Eliscu wrote The Holdup Man and They Can't Get You Down and also wrote comedy sketches for such reviews as The Third Little Show (1931).
By this time, he had scored his first show, 1929's Great Day, which he co-wrote with composer Vincent Youmans and lyricist William Rose. Besides the popular title song, this show also included the successful songs "More Than You Know" and "Without a Song." Brought west by RKO, Eliscu wrote music and lyrics for a handful of RKO films: the best and most memorable of these was Flying Down to Rio (1933), which featured Fred Astaire and Ginger Rogers.
He then moved to 20th Century-Fox, where, among other assignments, he was principal scenarist for the Jane Withers films. At Universal in the late '30s, he worked on such assignments as Charlie McCarthy, Detective, and Little Tough Guys in Society (both 1939). After working as composer and librettist of the Broadway revues Frederika (1937) and Meet the People (1940), Eliscu settled down at Columbia, where he wrote several "B" musicals and comedies and served as producer for the 1944 Ann Miller vehicle Hey, Rookie. Eliscu also wrote the screenplays for the films The Gay Divorcee (1933), Out of the Blue (1947), and, his last credit, United Artists' Three Husbands (1950).
He was subsequently blacklisted for his political opinions; Eliscu did, however, continue to work in theater and television. As a lyricist, his best-known songs were those used in Great Day, as well as "Carioca" (1933) and "Damn the Torpedoes, Full Speed Ahead" (1943). Over the course of his career, Eliscu collaborated with many songwriters including Jay Gorney, Johnny Green, Gus Kahn, and Vernon Duke. Late in life, Eliscu was inducted into the Songwriters Hall of Fame. Between 1968 and 1973, he served as the president of the American Guild of Authors & Composers.
~ Hal Erickson & Joslyn Layne
Oleg Lundstrem, Leader
b. Chita, Russia
Oleg Leonidovich Lundstrem (also spelled Lundstroem, Lundström, Russian: Олег Леонидович Лундстрем; April 2, 1916, Chita—October 14, 2005, near Moscow) was a Soviet and Russian jazz composer and conductor of the Oleg Lundstrem Orchestra, one of the earliest officially recognized jazz bands in the Soviet Union.
Lundstrem was born to a family of musicians in Chita. His family moved to Harbin, China when he was five. In 1935, inspired by Duke Ellington's "Dear Old Southland" record which he occasionally purchased in Harbin for a private party, Lundstrem joined forces with eight other young Russian amateur musicians and formed the Oleg Lundstrem Orchestra. In 1936, the band moved to Shanghai, where they immediately became popular among the public. Until 1947, the band was an important part of Shanghai jazz scene, along with Buck Clayton Orchestra.
After World War II, in 1947, Lundstrem returned to the Soviet Union and settled in Kazan, where he worked as a violinist in the opera and ballet theatre, while keeping his jazz orchestra as a side act. In 1956, the Oleg Lundstrem Orchestra moved to Moscow; Lundstrem was appointed by the Soviet cultural authorities as the orchestra's art director and conductor.
In 1994, the Guinness Book of Records recognized the Lundstrem band as the oldest continuously existing jazz band in the world. In 1998, he was awarded the Russian Federation State Award. He died at age 89 from natural causes at his home in the village of Valentinovka, Moscow suburbs, and buried at the cemetery of the Obraztsovo village, Moscow suburbs.

Baby Dodds on drums with Marty Marsala on trumpet
Marty Marsala
cornet, trumpet, drums, vocal
b. Chicago, IL, USA, d. Chicago, April 27, 1975.
The younger brother of clarinetist Joe Marsala, Marty was a decent journeyman trumpeter who was at his best when freewheeling Dixieland-oriented settings. He started out as a drummer, playing in Chicago with groups led by Red Feilen and Joe Bananas. Marsala switched to trumpet in the late 1920s. Although he gigged steadily, Marsala was virtually unknown until 1936, when he moved to New York and recorded with his brother. He was with Will Hudson's Orchestra for a short time in 1937 but mostly played with Joe's band (which also featured Adele Girard on harp) until 1941.
Marty led his own group at Nick's, was with Chico Marx's band (1942-43), served in the Army (1944-45) and then rejoined Joe for a short time in 1945. In addition to playing with Miff Mole and Tony Parenti, Marsala headed his own combos. He moved to San Francisco in the mid-'50s and gigged with Kid Ory (and more extensively with Earl Hines). From the late 1950s on he was less active due to erratic health, although he played off and on until retiring in 1965. Marty recorded with Joe (1937-41 and 1945), Tempo King (1936-37), Bob Howard (1937), Eddie Condon, Kid Ory and Earl Hines, among others, but never had a chance to lead a session of his own.
~Scott Yanow
Herbert Mills, vocals
b. Piqua, OH, USA.
d. April 12, 1989.
Member: 'Mills Bros.' Voc. Group.
né: Herbert Bowles Mills
The Mills Brothers, sometimes billed as The Four Mills Brothers, were an American jazz and pop vocal quartet of the 20th century who made more than 2,000 recordings that combined sold more than 50 million copies, and garnered at least three dozen gold records. The Mills Brothers were inducted into The Vocal Group Hall of Fame in 1998.

Roy Palmer, Trombone
b. New Orleans, LA, USA.
d. Dec. 22, 1963, Chicago, IL, USA.
Roy Palmer had a raspy tone yet a fluid style on the trombone which he played quite percussively (reminiscent but not derivative of Kid Ory). No matter what the setting, Palmer's playing added excitement, joy and musicality to the situation yet he is largely forgotten today except by 1920's collectors. Palmer started out as a guitarist (playing in Roseal's Orchestra as early as 1906), switched to trumpet and then finally trombone.
An early member of the New Orleans jazz scene, Palmer played with Richard M. Johnes, Willie Hightower and many other groups. In 1917 he moved to Chicago where he worked with Lawrence Duhe's band. When King Oliver became the band's leader, Palmer departed.
In the 1920's he played with a variety of now-forgotten bands including those led by Tig Chambers, Doc Watson and Hughie Smith. Palmer did have opportunities to record with Jelly Roll Morton (1924), Johnny Dodds (1927) and Richard M. Jones (1929) but it was his records with the State Street Ramblers (1931), the similarly boisterous Memphis Nighthawks (also known as the Alabama Rascals) in 1932, and finally with the Chicago Rhythm Kings (1936) that made him legendary. Fortunately all of his 1931-36 recordings are available on the CDs State Street Ramblers Volumes 1 and particularly 2 from the RST label.

After 1936, Roy Palmer was no longer a fulltime player, made no further recordings, ran a laundry business and taught trumpet, trombone and theory from his Chicago home.
~ Scott Yanow

Hymie Shertzer, Alto Sax
b. New York, NY
d. 1977
Best recalled with the Benny Goodman Band.

Håkan Von Eichwald
b. Turku, Finland
d. April 1, 1964, Malmö, Sweden.
Age 55.
Håkan, a child prodigy, was raised in Turku with his Finnish-Russian parents, and even gave a piano recital at just age 5. He subsequently studied music in both Vienna, Austria and Würzburg, Germany, before relocating to Sweden in 1926. From 1929-1935, he was the husband of Maritta Marke, and from 1936, with the dancer Ingrid Tunér. He started his career leading theater pit orchestras, most notably at Vasateatern during the last of the 1920s. His own band, which was active during the 1930-1934 and the 1936-1940 periods, was a very busy studio orchestra, recording more than 300 dance band numbers between 1930 and 1939.
During the WW2 years, Håkan returned to leading theatrical pit orchestras. In the post WW-II years, during 1946-1959, he worked as the conductor for northwestern Skåne's Orchestra association In addition to his other work, Eichwald also contributed music to about 10 films between 1949 and 1956. In 1962, he conducted pit orchestras in Malmö theatres, as well as leading a symphony orchestra in Helsingborg, Sweden, up to his death in Malmö, in 1964, age 55.

Notable Events Occurring 
On This Date Include:

Bennie Moten, piano/leader
died in Kansas City, MO, USA.
Age: 40

Wendell Hall
1920's C&W recording artist died.

Cliff Carlisle
C&W guitar/dobro
died in Lexington, KY, USA.
Age: 78

Milton Rackmil, label co-founder (Decca)
died in New York (Manhattan), NY, USA.
Age: 86

Miff Campbell, guitar
died in Indianapolis, IN, USA.
Age: 89

Songs Recorded/Released
On This Date Include:


Original Memphis Melody Boys - Blue Grass Blues
Original Memphis Melody Boys There's No Girl Like My Gal
Marion Harris
  • Beside A Babbling Brook
  • Dearest


Benson Orchestra of Chicago - Back In Hackensack, New Jersey


Clara Smith

The California Ramblers - Charleston
  • On The Oregon Trail


Leroy Smith and his Orchestra - I'm A Broken Hearted Blackbird
Leroy Smith and his Orchestra - I'm Riding To Glory (With A Glorious Blues)

Bessie Brown
  • Smile
Bessie Brown and her Jazz Band - Blue Ridge

Ted Weems and his Orchestra


The Man I Love

When the mellow moon begins to beam,
Ev'ry night I dream a little dream,
And of course Prince Charming is the theme,
The he for me.

Although I realize as well as you
It is seldom that a dream comes true,
For/To me it's clear
That he'll appear.

Some day he'll come along,
The man I love
And he'll be big and strong,
The man I love
And when he comes my way
I'll do my best to make him stay.

He'll look at me and smile
I'll understand ;
And in a little while,
He'll take my hand ;
And though it seems absurd,
I know we both won't say a word

Maybe I shall meet him Sunday
Maybe Monday, maybe not ;
Still I'm sure to meet him one day
Maybe Tuesday will be my good news day

He'll build a little home
Just meant for two,
From which I'll never roam,
Who would - would you ?
And so all else above
I'm waiting for the man I love.

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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