Banner 32551 – Gene’s Merrymakers – 1932

Posted on June 12, 2016 by R. Connor Montgomery

Born on this day 117 years ago was bandleader Gene Kardos, whose orchestra made quite a few decent selling records in the 1930s.

Eugene Kardos was born June 12, 1899 in New York City. He formed a territory band in the early 1930s, and first recorded for Victor, with his earliest output appearing on their short-lived Timely Tunes label, a number of further issues were on Electradisk. By 1932, he had moved to ARC, using a wide variety of pseudonyms, as well as his own name, and made a few records on the side for Crown under the name of his piano player, Joel Shaw. Kardos’ band tended to play on the hot side, and was competent with popular songs as well as the occasional jazz piece, though they adopted a “sweeter” style later in the 1930s, as did many bands of their type. In 1939, Kardos married and retired from music to pursue a career with the United States Post Office. He died in 1980.

Banner 32551 was recorded August 25, 1932 and December 18, 1931, respectively. Gene Kardos’ Orchestra assumes the name “Gene’s Merrymakers”, which they commonly used on their ARC releases.

On the first side, the Kardos band plays an excellent rendition of “High Society”. Thanks to a tip from Mr. Paul Lindemeyer, the probable personnel for Kardos’ band on this side has been identified as Sam Caspin and Red Hymie (Rosenblum) on trumpets, Pete Salemi on trombone, Moe Cohen and Nat Brown on clarinet and alto sax, Gabe Gelinas on clarinet and tenor sax, Joel Shaw on piano, Sol Sussman on banjo, Max Goodman on tuba, and Smith Howard on drums, with an arrangement by Bernie Green.

High Society, recorded August 25, 1932 by Gene’s Merrymakers.

Strangely, though credited to Kardos, “Clarinet Marmalade” is actually played by the Casa Loma Orchestra. ~~I believe it was their only side issued on the ARC budget labels.~~ I defer to the expert below (↓): it’s one of at least three Casa Loma sides appearing on the ARC dimestore labels, plus a later reissue of their 1931 “Alexander’s Ragtime Band”. Rust lists the personnel as Joe Hostetter, Grady Watts, and Bobby Jones on trumpets, Pee Wee Hunt and Billy Rauch on trombones, Clarence Hutchinrider on clarinet and alto sax, Kenny Sargent and Glen Gray on alto sax, Pat Davis on tenor sax, Mel Jenssen on violin, Joe Hall on piano, Gene Gifford on banjo and guitar, Stanley Dennis on bass, and Tony Briglia on drums.

Clarinet Marmalade, recorded December 18, 1931 by Gene’s Merrymakers.

Updated on June 24 and September 24, 2016, and May 29, 2017.

Columbia 2652-D – Ted Lewis and his Band – 1932

Posted on June 6, 2016 by R. Connor Montgomery

Is everybody happy?

Columbia’s custom sleeve and label dedicated to Ted Lewis.

In addition to Jimmie Lunceford, June 6 also marks the 126th anniversary of Ted Lewis’ birth. Here’s one of his most popular records of the 1930s, as well as one of my personal favorite Ted Lewis vocal performances.

Ted Lewis was born Theodore Leopold Friedman in Circleville, Ohio on June 6, 1890. He took up playing the clarinet professionally, though some would argue that his abilities on the instrument were limited. He first recorded with Earl Fuller’s Famous Jazz Band, and soon began recording for Columbia with his own jazz band, switching to Decca in 1934. With his trademark phrase, “is everybody happy?”, his schmaltzy “talk-singing” and tendency to employ top-notch musicians made him one of the most popular musical personalities of the 1920s, and into the 1930s, alongside Paul Whiteman. However, his style faded from popularity as swing became king, and his music fell out of favor, though he continued to perform for many years. Ted Lewis died on August 25, 1971.

Columbia 2652-D was recorded March 15 and 22, 1932 in New York City. Ted Lewis’ band consists of Muggsy Spanier and Dave Klein on trumpets, George Brunies on trombone; Ted Lewis and Benny Goodman on clarinet and alto sax, Sam Shapiro and Sol Klein on violins, Jack Aaronson on piano, Tony Gerhardi on guitar, Harry Barth on string bass and tuba, and John Lucas on drums.

The quintessential Depression-era tune “In a Shanty in Old Shanty Town”, introduced in the motion picture Crooner, became one of the most popular songs of 1932, both for Ted Lewsis and for other artists. In my opinion, this is one of Lewis’ best vocals.

In a Shanty in Old Shanty Town, recorded March 15, 1932 by Ted Lewis and his Band.

On the other side, Lewis and his band do a fine job with “Sweet Sue – Just You”, featuring a great clarinet solo by Benny Goodman.

Sweet Sue – Just You, recorded March 22, 1932 by Ted Lewis and his Band.

Brunswick 6291 – The Boswell Sisters – 1932

Posted on May 20, 2016 by R. Connor Montgomery

Vet Boswell in the early 1930s.

May 20 marks a most important occasion, the 105th birthday of most underappreciated of the three Boswell Sisters, Helvetia “Vet” Boswell, whose quiet disposition and propensity to avoid solos would lead to her later being remembered as (and I quote verbatim from a 1938 newspaper article) “the other sister.”

Helvetia George Boswell was born on May 20, 1911 in Birmingham, Alabama. Vet had the misfortune of entering this world around the time her sister Connie was afflicted with the ailment that left her completely paralyzed for a period of time, and without proper use of her legs for the rest of her life. Mother Meldania devoted most of her time in that period to Connie’s rehabilitation, and could not attend to the new (as yet unnamed) infant. The new Boswell baby was soon named Helvetia, after the condensed milk on which she was reared. In 1914, the Boswells moved to New Orleans, out of the cradle and into the cradle of jazz. When she started school, Helvetia was upset that the kids had nicknamed her “Hel”. Mother Boswell would have none of that, and from then on she was “Vet”. Later, her father came to call her “Iron Horse Vet”, and she was noted for her fondness for “pig sandwiches.” As her sisters Martha and Connie pursued their musical ambitions with vigor, Vet was along for the ride, supporting the sister act, though she preferred other artistic endeavors such as painting and drawing. Though she never took a solo part, she was an integral part of the harmony, and every bit as talented as her more gregarious older sisters.

After touring ’round the world and then some, Vet secretly married Texas oilman John Paul Jones in 1934. They would not make the marriage known until the next year. Vet’s marriage, combined with Martha’s soon after, created tension within the group surrounding the sisters ability to balance their professional and married lives, which was aggravated (and potentially incited) by their manager and Connie’s soon-to-be husband Harry Leedy. Tensions came to a head in 1936, and the group disbanded. Taking up residence in Ontario, and later on in New York, adjustment to home life was not easy for Vet, who found her new life as a housewife lonesome compared to show business. In 1936, she gave birth to her daughter, Vet Boswell Jones, or “Chica”. Vet never returned to the show business, though she had one final stage reunion with her sisters in 1955. Many years later, Vet made a celebrated homecoming to New Orleans. She passed away at the age of 77 in 1988, the last surviving and longest lived of the Boswell Sisters.

Brunswick 6291 was recorded March 21, 1932 in New York City. The Boswell Sisters are accompanied by the Dorsey Brothers’ Orchestra, consisting of Mannie Klein on trumpet, Tommy Dorsey on trombone, Jimmy Dorsey on clarinet and alto sax, Babe Russin on tenor sax, Martha Boswell on piano, Eddie Lang on guitar, Artie Bernstein on string bass, and Stan King on drums.

I carefully selected “Between the Devil and the Deep Blue Sea” for this occasion for one reason, it’s the only one I’m aware of that features anything resembling a solo vocal by Vet Boswell. She can be heard singing the line “you’ve got me in between…” If you want to hear a rare recording of Vet singing solo, I recommend picking up a copy of Their Music Goes Round and Round, featuring a rare home recording of Vet singing “I Can’t Give You Anything but Love”, available at the official Boswell Sisters Store.

Between the Devil and the Deep Blue Sea, recorded March 21, 1932 by the Boswell Sisters.

On the flip-side, the Bozzies perform one of their classic songs, the jazz standard “There’ll Be Some Changes Made”.

There’ll Be Some Changes Made, recorded March 21, 1932 by the Boswell Sisters.

Victor 24193 – Leo Reisman and his Orchestra – 1932

Posted on May 10, 2016 by R. Connor Montgomery

How could we overlook the great Fred Astaire on his own 117th birthday? (We couldn’t.) Here’s one of his early phonograph recordings to celebrate the occasion.

Fred Astaire was born Frederick Austerlitz on May 10, 1899 in Omaha, Nebraska. His family moved to New York in 1905, and his mother encouraged his older sister Adele’s and his own natural dancing talents, hoping to have them become a brother and sister vaudeville act. Changing their name to Astaire, they did, and began appearing in musical theater as a dancing duo in the 1910s, singing all along the way. After a string of successful shows on Broadway and in London, including Lady Be Good and Funny Face, Fred and Adele broke up the pair after she married. Fred’s first show separate from his sister was Cole Porter’s Gay Divorce in 1932. Soon after, Astaire headed off to Hollywood, where the results of his RKO screen test was reported to have said, “Can’t act. Can’t sing. Balding. Can dance a little.” Nevertheless, David O. Selznick signed Astaire to RKO Radio Pictures in spite of his “enormous ears and bad chin line.” Astaire’s first picture role was in the 1933 Joan Crawford and Clark Gable vehicle Dancing Lady, in which he played “Fred Astaire”. Not long after, Fred was teamed up with budding starlet Ginger Rogers in Flying Down to Rio, the first of nine films in which the pair would appear. From then on out, Astaire appeared in numerous films with a variety of partners, and eventually started into straight acting (and a couple retirements, in between). Fred Astaire died in 1987 at the age of 88.

Victor 24193 was recorded November 22, 1932 in Victor’s Studio 1 in New York, New York, by Leo Reisman and his Orchestra featuring Fred Astaire singing the vocals on both sides. Both sides feature songs from Cole Porter’s Gay Divorce. This record was recorded using RCA Victor’s early 1930s microphone system, producing astounding fidelity.

First, Fred Astaire sings Cole Porter’s famous “Night and Day”. You may notice Astaire’s voice crack a little on one line in this one.

Night and Day, recorded November 22, 1932 by Leo Reisman and his Orchestra.

On the reverse, Astaire sings “I’ve Got You On My Mind”. Just listen to that high fidelity!

I’ve Got You On My Mind, recorded November 22, 1932 by Leo Reisman and his Orchestra.

Brunswick 6265 – Duke Ellington and his Famous Orchestra – 1932

Posted on April 29, 2016 by R. Connor Montgomery

Today we celebrate the birthday of Duke Ellington, who was born on this day 117 years ago. Music as his mistress, he was the man that truly made a lady out of jazz—and a sophisticated lady, at that.

Duke Ellington with his orchestra at the Cotton Club sometime in the 1930s. From Jazzmen, 1938.

Duke Ellington with his orchestra at the Cotton Club sometime in the 1930s. From Jazzmen, 1939.

Edward Kennedy Ellington was born April 29, 1899 in Washington, D.C. to two piano playing parents. As a youngster, he came to be called Duke for his refined manners and dapper style of dress. While working as a soda jerk at the Poodle Dog Café in 1914, Duke composed his first song, the “Soda Fountain Rag” (a.k.a. the “Poodle Dog Rag”), which he played in a variety of styles. Working as a sign painter in the latter part of the 1910s, Ellington put together small bands for various affairs. He put his first orchestra together in 1917, included as its early members were his childhood friend Otto Hardwick, Arthur Whetsel, Elmer Snowden, and Sonny Greer. Eventually, the band moved to Harlem, following drummer Sonny Greer, who was invited to play with Wilbur Sweatman’s band. In 1924, the band made its first records on the Blu Disc label, which were sold only at the cigar counter of a New York theater. As the Washingtonians, led by Elmer Snowden, the band played at Harlem’s Kentucky Club. Snowden was later kicked out of the band over a financial dispute and full leadership was assumed by Ellington.

In 1926, Ellington signed Irving Mills as his band’s agent, a move that brought his success to new heights. Later, in 1927, King Oliver had foolishly decided to hold out for more money on the prestigious Cotton Club gig, and Ellington took the job, his orchestra becoming the house band of the famous club, replacing the recently deceased Andy Preer. He held the position until Cab Calloway brought Preer’s band (as the Missourians) back to the Cotton Club. Duke was brought to greater fame when his orchestra appeared in the 1930 Amos ‘n’ Andy picture Check and Double Check. Ellington toured across the United States in the early 1930s, and, like many American artists, made a European tour in 1933. Throughout the years, Ellington featured many great musicians and introduced many famous pieces. He appeared in a number of films and continued to enjoy immense success as one of the world’s foremost musical forces until his death in 1974.

Brunswick 6265 was recorded February 2 and 11, 1932 in New York City. Ellington’s Famous Orchestra features Arthur Whetsel, Freddie Jenkins, and Cootie Williams on trumpets, Joe Nanton and Juan Tizol on trombones, Barney Bigard on clarinet and tenor sax, Johnny Hodges on clarinet, soprano sax, and alto sax, Harry Carney on clarinet, alto sax and baritone sax, Duke on piano, Fred Guy on banjo, Wellman Braud on string bass, and Sonny Greer on drums.

First up, it’s Ellington’s famous “It Don’t Mean a Thing (If it Ain’t Got That Swing)”, named after the credo of former band-mate Bubber Miley, who was ailing at the time. Ivie Anderson provides the famous vocal.