Bluebird B-6063 – Boots and his Buddies – 1935

Posted on June 21, 2016 by R. Connor Montgomery

In another entry in our series examining both the territory bands of the United States and music originating from the state of Texas, we look at Boots and his Buddies, one of the Lone Star State’s leading swing bands of the 1930s.

Clifford “Boots” Douglas was born in Temple, Texas, likely on September 7, 1906 or 1908. He began playing drums in his teenage years, and first played professionally in 1926 as a member of Millard McNeal’s Southern Melody Boys of San Antonio. Douglas formed his own band, called “Boots and his Buddies” (presumably deriving their name from the comic strip Boots and her Buddies) at some point in the first half of the 1930s, and played gigs around the state of Texas, occasionally venturing into neighboring states. Boots’ Buddies began recording in 1935 for RCA Victor, with their recordings issued on the Bluebird label. They continued to record until late in 1938. With Douglas arranging, they seem to have had a tendency to “borrow” music from others and play it under their own titles. Their regional popularity rivaled that of fellow Texas swing man Don Albert, and while their phonograph records gained them some greater recognition outside of their home state, they never were never widely known outside of Texas. Though the end of the swing era saw a steady decline in the band’s popularity, Boots and his Buddies were still playing through the end of the 1940s. In 1950, Douglas finally disbanded his Buddies and relocated to Los Angeles, California, where he worked for the county, still playing on the side. According to social security records, he died in 2000, at the age of either 92 or 94.

Bluebird B-6063 was recorded August 14, 1935 in San Antonio, Texas by Boots Douglas and his Buddies. The personnel consists of Thaddeus Gilders, Percy Bush, Douglas Byers, and L.D. Harris on trumpets, Johnny Shields on trombone, Alva Brooks and Jim Wheat on alto sax, Baker Millian on tenor sax, A.J. Johnson on piano, Jeff Thomas on guitar, Walter McHenry on string bass, and Boots Douglas on drums. It was the first issued record by Boots’ Buddies, and the first and third sides from his earliest session. This pressing dates to the late 1930s, early pressings would have appeared on Bluebird’s “buff” label. I purchased this copy from a local fellow in Arlington (the same guy that provided my Fred Gardner’s Texas University Troubadours record), it has likely spent its entire life in the state, since its arrival from the pressing plant.

First up is “Wild Cherry”. This side is pretty well beaten, but still plays well thanks to the high quality of these Bluebird records.

Wild Cherry, recorded August 14, 1935 by Boots and his Buddies.

On the other side, they play a sizzling rendition of “Rose Room” (which we last heard played by Duke Ellington’s band). This was Boots and his Buddies’ first recorded side. This may be the loudest side I’ve ever played, I had to turn the volume way down to transfer it properly.

Rose Room, recorded August 14, 1935 by Boots and his Buddies.

Vocalion 2587 – Cliff Edwards (Ukulele Ike) – 1933

Posted on June 14, 2016 by R. Connor Montgomery

Today we celebrate the birthday of Cliff Edwards, the man known as “Ukulele Ike”. He was one of the leading figures in the proliferation of the ukulele during the roaring twenties, and made his mark on the cinematic world as the voice of Jiminy Cricket in Walt Disney’s Pinocchio. Edwards’ distinctive vocal style was punctuated with his trademark “effin’,” a sort of kazoo sounding scat singing of his own creation.

Cliff Edwards as illustrated in Radio Round-Ups by Gurman and Slager, 1932.

Clifton Avon Edwards was born June 14, 1895 in Hannibal, Missouri, of no particular musical background. He took up singing in St. Louis saloons in his teenage years, and bought his first ukulele because it was the cheapest instrument he could find. He was given the nickname “Ukulele Ike” by a bar owner who couldn’t remember his actual name. In 1918, he made a hit in Chicago with “Ja-Da” and was hired onto the vaudeville stage by Joe Frisco. He made his first phonograph records in 1922 with Ladd’s Black Aces and Bailey’s Lucky Seven, for Gennett, and was signed to Pathé soon after. Over the course of the 1920s, he made his way to the top, becoming one of the most successful singing stars in America, with numerous hits on record and stage. In 1929, Edwards was brought into the world of moving pictures by Irving Thalberg, and made his mark on the budding talking pictures with his introduction of “Singin’ in the Rain” in The Hollywood Revue of 1929. He continued to appear in movies through the 1930s, and provided the voice of Jiminy Cricket in Walt Disney’s production of Pinocchio in 1940. His stardom in stage, screen, and radio faded over the course of the Great Depression, though he continued to work in show business for many years, still making sporadic appearances in the 1950s and ’60s. In spite of his fame and success, Edwards was careless with his money, and died penniless of arteriosclerosis in 1971. Most of his medical bills were paid by Walt Disney Productions.

Vocalion 2587 was recorded October 24 and 26, 1933 in New York City by Cliff Edwards. Both sides feature tunes from the 1933 motion picture Take a Chance. Edwards is accompanied by Dick McDonough on guitar on the first side, and Artie Bernstein on string bass on the second.

Here, Ukulele Ike croons the Depression-era classic “It’s Only a Paper Moon” from 1933’s Take a Chance, in which Edwards appeared. One of my personal favorites.

It’s Only a Paper Moon, recorded October 24, 1933 by Cliff Edwards “Ukulele Ike”.

Next, he sings a less remembered, but equally excellent tune, Herman “Dodo” Hupfeld’s “Night Owl”. I can relate.

Night Owl, recorded October 26, 1933 by Cliff Edwards “Ukulele Ike”.

Updated on May 31, 2017 and June 9, 2017, and with improved audio on April 1, 2018.

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.

Okeh 41403 – Casa Loma Orchestra – 1930

Posted on June 7, 2016 by R. Connor Montgomery

Before the swing era commenced, you could get an earful of the burgeoning genre from a number of bands. One was Fletcher Henderson’s band, one of the earliest to start swinging music. Another one was the Casa Loma Orchestra, who played swing outright as early as 1930. Today, on the ~~110th~~ 116th birthday of leader Glen Gray, we’ll hear from them.

The Casa Loma Orchestra got its start in 1927 in Detroit as the Orange Blossoms, managed by Jean Goldkette. After an eight month gig at the Casa Loma Hotel in Toronto, they became known as the Casa Loma Orchestra, though they were not actually a house band at the hotel. They first began recording in 1929 for Okeh, with ultra-modern arrangements by band member Gene Gifford. The band incorporated in 1930, with all members as part-owners, and they ran a tight ship. In the early years, they were fronted by Henry Biagini, but Glen Gray assumed the spot later on. Switching to Brunswick, then to Decca, they became one of the leading bands in the United States by the start of swing era, and held that position into the 1940s. After the close of the swing era, the Casa Loma Orchestra continued to play into the early 1960s, mostly remaking swing hits in hi-fi on Capitol Records.

Okeh 41403 was recorded February 11, 1930 in New York City. The Casa Loma Orchestra consists of Hank Biagini directing Joe Hostetter, Fred Martinez, and Bobby Jones on trumpet, Pee Wee Hunt and Billy Rauch on trombone, Glen Gray and Ray Eberle 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 string bass, and Tony Briglia on drums. Both sides were arranged by Gene Gifford.

First up, they play it hot on on “China Girl”.

China Girl, recorded February 11, 1930 by the Casa Loma Orchestra.

Next up is an even hotter rendition of Wingy Manone’s “San Sue Strut”.

San Sue Strut, recorded February 11, 1930 by the Casa Loma Orchestra.

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.